Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This letter is a lengthy polemic in which Cobbing argues with Chopin's assertions on contesting the history of sound poetry. He dates and mentions his own performances of sound poetry from his first attempts in 1942. He argues with Chopin on the dating of the works of Heidsieck, Wolman, de Vree, Lockwood, Dufrene, Gysin and Jandl. -- Source of annotation: Marvin or Ruth Sackner.

Chopin requests Furnival to send graphics to ICA and to ask Houedard to send poems as well. -- 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.

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.

This is a request to Martin Fidler, the bookseller who sold the Sackners the Finlay Archive, for out-of-print books by Confucius and by the philosopher J-H. Newman. It gives an indication of the seriousness of Finlay's depth of intellectual reading. -- Source of annotation: Marvin or Ruth Sackner.

This is the first letter written to Marvin Sackner from Tom Phillips. Sackner was moved by Phillips' exhibition in the Basel Kunsthalle. The letter begins, "Thanks for your kind letter & your good wishes re - A Humument - it has been a long haul!" He goes on extending an invitation to visit him in London. -- Source of annotation: Marvin or Ruth Sackner.

This letter provides an explanation of Adler's "Scenario," a prose piece which is an allegorical interpretation of his poem, "Alphabet Music." The manuscript of "Scenario" was attached to the letter. -- Source of annotation: Marvin or Ruth Sackner.

Object consists of pant's pocket mounted on cardboard. -- Source of annotation: Marvin or Ruth Sackner.

The letter has a large watercolor of the plant, Pulmonaria Officinalis - Lungwort dominating the left half recto of the letter. Furnival describes the reason for the name of this plant and also a visit to Russia and the Ukraine. -- Source of annotation: Marvin or Ruth Sackner.

Requests information for a catalog on the book, "Marine," done in collaboration with Smith, which was purchased by the Sackner Archive. The edges of the letter, written on brown paper, have been painted with abstract markings. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts a photographic portrait of Houedard along with the famous Haiku he translated from Bashu, "frog, pond, plop." It is depicted on page 140 of Furnival's book, "The Locative-Vocative Cases." -- Source of annotation: Marvin or Ruth Sackner.

This book provides an illustrated tour of Little Sparta. The photographs of the garden were taken by Andrew Lawson. The Sackners purchased this book from Finlay during a visit to the garden in 2004. This is the third impression. Sir Roy Strong calls Little Sparta 'the only really original garden made in this country since 1945'. Ian Hamilton Finlay's unique creation in the Pentland Hills south of Edinburgh is a garden composed as an artwork in itself. It incorporates concrete poetry, moral polemic, philosophical reflection and a sparkling sense of humour. While Finlay's works and installations throughout Europe and North America are well documented and justly famous, this is the first book devoted solely to the garden at Little Sparta, which has been at the heart of his life's work. It offers the reader a sense of the diversity and originality of the garden along with a text that unfolds the layers of meaning it contains. -- Source of annotation: Marvin or Ruth Sackner.

The book mainly documents the indictment and trial of the author for sending five "indecent" postcards in the mail. -- Source of annotation: Marvin or Ruth Sackner.