All the words in this poem begin with the letter "b." -- Source of annotation: Marvin or Ruth Sackner.

This book is a collection of typewritten concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

Originally published in 1951. -- Source of annotation: Marvin or Ruth Sackner.

This book was first published in German in 1965. -- Source of annotation: Marvin or Ruth Sackner.

The number of copies of this edition is unknown but is probably 500. This book includes bothe the German and Spsnish versions of Gomringer's seminal poem "silence." -- Source of annotation: Marvin or Ruth Sackner.

The cabinet (artist box) was designed by Mark Foxman, the cover was designed by by David Horton and the typography was designed by Susan Quasha. The works are mostly photographic, non-verbal images. The editor, David Lee Strauss, on an interview, discusses how he wanted this issue to be concerned with the fourth dimension. However, except for Robert Bowen's photograph, "Flat Irony," a surrealistic image of the NYC Flat Iron Building floating in space Mark Jenkinson's night photograph of a Los Vegas scene, I did not find the rest of the contributions successful in this regard. -- 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.

Originally appeared in C. Belloli's "Ravoli Visuali," Edizioni della Rivista Gala, Rome, 1948. -- Source of annotation: Marvin or Ruth Sackner.

These poems deal with detail of a still-life in word constellations. -- Source of annotation: Marvin or Ruth Sackner.