This drawing for the editioned card depicts the hand drawn title "Tea Kettle Drum" on the upper line and the words, "Water Lily Cup" on the lower line. The editioned card is folded to reveal the former and the latter. The poem is printed in red and black with the red words forming "Kettle Water Cup." -- Source of annotation: Marvin or Ruth Sackner.

This is Finlay's first book of concrete poetry based upon a typed layout. Sixtenn poems are printed in red color. -- Source of annotation: Marvin or Ruth Sackner.

Temple, according to Finlay's definition, signifies a sacred place or a place menaced by bailiffs. The accompanying image is taken after Claude Lorrain's "Landscape with Apollo." The poem refers to the buiding housing Finlay's artworks, "Temple" and seizure of these works by bailiffs because of a local tax dispute. -- Source of annotation: Marvin or Ruth Sackner.

Temple denotes the exhibition space at Finlay's residence. The caption under an image of a Greek temple includes a definition, a quote from The Metamorphosis of Ovid, and the storming of Finlay's Temple by the Strathclyde region tax collectors who launched a surprise attack on Budget day, March 15, and successfully looted the garden TEMPLE. The definition is "a marbled edifice, a veined edifice; the seat or summit of reason." -- Source of annotation: Marvin or Ruth Sackner.

This depicts the proposed view of Finlay's Garden Temple. -- Source of annotation: Marvin or Ruth Sackner.

This reproduces a photomontaged drawing of a neo-classical temple with a landscape background built in Finlay's garden. The accompanying poem makes reference to Claude [Lorain?]. -- Source of annotation: Marvin or Ruth Sackner.

Commemorates Joseph Bara, the little drummer boy who was shot by Royalists for shouting "long live the revolution" instead of "long live the king" during the French revolution. The image is a post-modern temple or bandstand in which the columns are composed of interrupted side drums in relief. -- Source of annotation: Marvin or Ruth Sackner.

Thus a commentary about one of Finlay's inscriptions in the Garden Temple in Little Sparta. -- Source of annotation: Marvin or Ruth Sackner.

The leaflet provides an explanation for the image on the medal. Virtue is signified by two classical columns and terror by the two posts of the Guillotine. -- Source of annotation: Marvin or Ruth Sackner.

The three printed pages read in a single column of vertical letters, "concrete effect ?, crossword effect ?, and weather effect ?" These are metaphors for concrete poetry, crossword puzzles, and rain. -- Source of annotation: Marvin or Ruth Sackner.

The three printed pages in this leaflet with vertical or diagnonal printed letters have a cryptic meaning, e.g., VTOLP. The later can be read backwards as Plot V. -- Source of annotation: Marvin or Ruth Sackner.

This typed message continues "mrs sharkeys book is EXCELLENT" -- Source of annotation: Marvin or Ruth Sackner.

The etching or woodcut black and white image on the card cover by Hincks appears to be a scene taken from Finlay's Little Sparta garden. -- Source of annotation: Marvin or Ruth Sackner.

This card depicts a somber, black and white photograph of a pond surrounded by grass and plants. The poem accompanying the photograph reads, "sank - somehere - here An effigy - now - of itself." -- Source of annotation: Marvin or Ruth Sackner.

Quotations from various philosophers are printed on the left hand page and landscape photographs on the right hand page to constitute the two elements on a picture poem. -- Source of annotation: Marvin or Ruth Sackner.

The image is a sail boat, seemingly from a newspaper illustration because of the BenDay dots. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a collection of critical essays previously published in academic periodicals. Her chapter, "Edging and Hedging" analyzes concrete poems by Lora-Totino (Spazio), Ulrichs (Eros), Gomringer (Silenzio), and Finlay ( The Wartime Garden). Caws analyzes the varient works of concrete poetry by the Frenchmen Lionel Ray and Edmond Jabes that she designates optical poetry as related to reading of the poems not to their optical imagery as in the typings of Dom Sylvester Houedard. -- Source of annotation: Marvin or Ruth Sackner.