Includes suggestions for revisions of Curtay's essay for publication in the catalog for the University of Iowa's exhibition of Lettrisme. -- Source of annotation: Marvin or Ruth Sackner.

Requests information about the periodical, Berenice. -- Source of annotation: Marvin or Ruth Sackner.

Response regarding details of essay requested by Curtay. -- Source of annotation: Marvin or Ruth Sackner.

Discusses setting up a performance for Curtay. -- Source of annotation: Marvin or Ruth Sackner.

Mentions that Curtay ought to contact Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

Comments upon adverse review of Lorine Niedicker book, produced by Finlay and Haynes, by Walter Kier in the magazine New Saltire. He asks Haynes to write a letter to the magazine with his response. -- Source of annotation: Marvin or Ruth Sackner.

Mentions his disappointment that his daughter, Jessie, who married to a sailor now lives in NYC. Suggests that Haynes ought to contact Dom Sylvester Houedard who Finlay believes is an oustanding concrete/kinetic poet. -- Source of annotation: Marvin or Ruth Sackner.

Notifies Haynes that he is sending a new play to him that has been broadcasted in Scotland and Canada. Includes a minimalist poem in the letter entitled "Landscape in the Barracks." Calls attention to two stains on the first page by encircling them and labeling them "tomato soup." -- Source of annotation: Marvin or Ruth Sackner.

Letter deals with sales of 1974 Correspondents' Calendars. -- Source of annotation: Marvin or Ruth Sackner.

Letter deals with an article to be published and mentions "The Exhibition of Degenerate Art." -- Source of annotation: Marvin or Ruth Sackner.

Expresses dismay on receiving a letter from Joan Lyons objecting to the linguistic structure of the manuscript he sent to her on Jan 7, 1985. Writes that she must be responsible for editing alterations. -- Source of annotation: Marvin or Ruth Sackner.

dsh mentions henri chopin and mlke weaver (whom he does not know). He writes about his first meeting with charles cameron. -- Source of annotation: Marvin or Ruth Sackner.

Bann reports damage to the screen of Furnival's installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Arias-Misson describes his current activities with ZAJ and explains his music score poem "La Solitude Sonore." -- Source of annotation: Marvin or Ruth Sackner.

This letter was sent to Furnival asking him to send a letter of recommendation to Harris for a renewal of his Canadian council grant. -- Source of annotation: Marvin or Ruth Sackner.

Arias-Misson indicates that he wishes to change dedication of his music score "La Solitude Sonore" to D.S.H. (Dom Sylvester Houedard). -- Source of annotation: Marvin or Ruth Sackner.