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The image on the cover is a woodcut by Gary Hincks after Walter Langley that depicts a boy in a field looking at a toy sailboat. -- Source of annotation: Marvin or Ruth Sackner.

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The Firesign Theatre broadcasted on KPFP FM, Los Angeles from 1970-1971. The group consisted of Philip Austin, Peter Bergman, David Ossman, and Philip Procter. The centerfold page is a mimeographed page from one of the versions of "Zachariah" by Joe Massot for The Firesign Theater. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Luciano Caruso and Sonia Puccetti. Drawing depicts a hand holding a smoking cigarette with a burning, smoking mound (of trash?) and a smoking chimney of a house in the background. The caption in French reads "to burn something is very easy." -- Source of annotation: Marvin or Ruth Sackner.

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Brailed means taken up or folded and the print depicts a sailing ship with its sails folded up. -- Source of annotation: Marvin or Ruth Sackner.

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The image on this card depicts a line drawing of the aft view of a sailing ship hull after a balsa wood model made by Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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This poem describes a cold winter's day from the vantage point of a restaurant opened for breakfast using as a metaphor "you can see people's breath as they come in the door." The text is arranged in a spiral adjacent to a coffee cup to simulate steaming coffee. The theme of the poem relates to the friendliness which occurs when a group of people come together in a shelter for protection from the cold weather. -- Source of annotation: Marvin or Ruth Sackner.

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The blind embossing on the white card within the folded white card reads, seagulls & whitecaps (embossed). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The image is a flaming pyre. The tantad or sacred fire of the ancient Bretons is a ceremony for midsummer rejoicings. It was part of the mediaeval monastic life in England with the ruins in Fountains Abbey. Dido refers to the mythologic story of Dido and Aeneus and the image of this work to the funeral pyre that Dido constructed before her suicide because Aeneus has left her. Although her relationship with Aeneas spans only this one book of the Aeneid, Dido has become a literary icon for the tragic lover, like Shakespeare's Romeo and Juliet. Though at times Aeneas's happiness in his love for Dido seems to equal hers, it is with considerably less grief and anxiety that he is able to leave her in Carthage and go back about the business of bringing the survivors of Troy to Italy and founding Rome. Whereas Dido not only loves Aeneas but hopes he and his warriors will strengthen her city, Aeneas's actions are the result of a momentary abandonment of his true duties and responsibilities....

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This is one of a series of 11 prints done in collaboration with Jonathan Williams that deal with the weather in Cumbria. This depicts a gloomy landscape from a window vantage showing grazing sheep. There are bright patches of red on backs of the Ewes indicating their owner as well as blue color on their backs. The ram's feet is placed into blue dye before they are put into the field with the Ewes so that farmers can tell when Ewes were serviced. In The Locative and Vocative Case. -- Source of annotation: Marvin or Ruth Sackner.

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The image on this card is a black and white drawing of a harbor scene in Brittany with nuns in the foreground after a painting by Maurice Dennis. The one-word poem is 'litany." Finlay quotes Caroline Boyle-Turner, "The painters felt that the peasants' lives had not changed since medieval times. They were also fascinated by the mystical character of the Bretons Catholicism." -- Source of annotation: Marvin or Ruth Sackner.

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Brount was the name of Robespierre's dog. This print is a reproduction of one of the pages in the book of the same title. The text of the caption is taken from Hector Fleischmann's "Robespierre and the Women He Loved." -- Source of annotation: Marvin or Ruth Sackner.

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The image is a sculpture of a dog and Brount is the name of an antagonistic critic of Finlay's works. -- Source of annotation: Marvin or Ruth Sackner.

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This small book is designed and cut to resemble a package of cigarettes, with its cover carrying the brand name, "Buch," instead of Marlborough cigarettes. It is fastened together with an official looking stamp. -- Source of annotation: Marvin or Ruth Sackner.

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This small book is designed and cut to resemble a package of cigarettes, with its cover carrying the brand name, "Buch," instead of Marlborough cigarettes. It is fastened together with an official looking stamp. -- Source of annotation: Marvin or Ruth Sackner.

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The poem describes building the hull of the wooden, toy ship "Bluenose" and the image on the card is a line drawing of same. -- Source of annotation: Marvin or Ruth Sackner.

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This depicts the poet Basil Bunting standing outside his house with the caption, "all sounds fall still, fellside bleat, hide-and-seek peewit." The Archive hold the print from the Letters to the Great Dead Series with the same image. -- Source of annotation: Marvin or Ruth Sackner.

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Tom Kryss illustrated the card cover and envelope. -- Source of annotation: Marvin or Ruth Sackner.

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The image on the inside of the card is a colored photograph of marching Nazi Brown shirts with some carrying red swastika flags. The caption to the poem reads, "or banners in the beds of Roehm's Brown shirts." -- Source of annotation: Marvin or Ruth Sackner.

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Stored in The Locative and Vocative Case. -- Source of annotation: Marvin or Ruth Sackner.