McMurtagh resides in San Diego, California; presumably this collaboration took place through the mail. -- Source of annotation: Marvin or Ruth Sackner.

This is a duplicate print from Finlay's portfolio Headlines:Eavelines. The word, "turnover" in this copy are orange whereas the print in the portfolio is brown.The verso has the following inscription: "from Evalines / Headlines by I.H.F. and students at Bath Academy of Art Openings Press." -- Source of annotation: Marvin or Ruth Sackner.

The large letters, H and J, stand for Henri and Jean as a celebration of their 25th wedding anniversary. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The piece has writing on it in two places, reading, "I was a trophy wife" and "After us the savage god."

Perhaps the best treatment accorded to the life and work of a concrete poet. -- Source of annotation: Marvin or Ruth Sackner.

Prudence Carlson wrote the essay for this catalogue. The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

One poem is printed on each of the pages except for a few pages with brief commentary.The following text is printed on the back cover. "Literature is the only artform whose organon is already symbolic. Concrete poetry has always been devoted to the breakdown of the assumed symbolism, either to reform a new one or to celebrate raw, lingual materiality for its own sake. While one branch seeks a new understanding of what was always there through this breakdown - most evident in 'found poetry' - and this is called the 'collective branch'; the other, the ideomorphic, seeks to forever push the process into fresh and singular dislocation. Here are three poets with the latter propensity: Haiku-focused LeRoy Gorman with his constuctivist tendencies, the more sculptural Daniel f. Bradley, minimalist panache in tow and cheek and the graphically ham-fisted Marshall Hryciuk, who feels positively didactic next to the other two." -- Source of annotation: Marvin or Ruth Sackner.

The concrete poems by Belsey in this book are highly innovative and entertaining. -- Source of annotation: Marvin or Ruth Sackner.