The spools of thread in a box were mailed to the Sackners as a Christmas gift from Finlay. One spool has blue, the other black thread, serving as a metaphor for clear and stormy weather, -- Source of annotation: Marvin or Ruth Sackner.

The narrative compares classical Greek arcadia with the French revolution. -- Source of annotation: Marvin or Ruth Sackner.

Varennes signifies the city that was the place where the King of France was captured during the French revolution and Vincennes the place where Rousseau had a vision that "...progress had not purified morals at all, but corrupted them disastrously." -- Source of annotation: Marvin or Ruth Sackner.

The poem deals with Finlay's vision of the arriving and departing postal van. -- Source of annotation: Marvin or Ruth Sackner.

This poem is entitled Des Esseintes and reads The muddied- colours of - the mouthwash - cocktails. The title translate in English to boredom. -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts a cap with a Spitfire (British WWII fighter airplane) roundel. The poem reads, A cap - of liberty- with a Spitfire -roundel -- Source of annotation: Marvin or Ruth Sackner.

The poems are printed on facing pages. One is entitled Tombstone and reads, Sundial - without - a gnomon. The other is entitled Marble and reads Parachute - of the gods. -- Source of annotation: Marvin or Ruth Sackner.

Essay describes Ian-Hamilton Finlay's garden Stonypath in Scotland. -- Source of annotation: Marvin or Ruth Sackner.

The images deal with Finlay's notions of denazification of the Ehrentemple sites. In Finlay's bookprints 1963-1997, this work is annotated as teo drawings with commentary but they are probably lithographis. -- Source of annotation: Marvin or Ruth Sackner.

Printed by Stellar Press, this is an attack on the adverse criticism of Finlay's Garden Temple for its architecture in the book, Follies, A National Trust Guide. In this print, Finlay reviews the etymology of the word "folly" and notes that it is derived from the latin word "follis" meaning a ball, balloon or bellows. -- Source of annotation: Marvin or Ruth Sackner.

Finlay's Christmas card consists of a list of 13 words which succinctly tell the Christmas story. The first several words seem to be made-up words. -- Source of annotation: Marvin or Ruth Sackner.

This book includes reproductions of "Book 14 T that consisted of abstract markings rendered on the mimeograph machine. The book reproduces 'The Para-Concrete Manifesto (1996)' is from the original mimeograph printing. Some of the pages inside 'untitled (1964)' also reproduced in the book were based upon images used for levy's '6 cleveland prints' (renegade press, 1964). There were 5 copies published; probably each one different from the other. Here, copy #2. is reprinted. The pages are colored abstract markings with some containing letter pictures. -- Source of annotation: Marvin or Ruth Sackner.

This issue contains illustrated articles on the genesis of the letter 'L,' film posters, and "Love Letters." Allan Haley contributed a biography entitled, "William Caxton: The Modest Translator." Marion Muller's essay "Meant to Be Seen and Not Heard" about concrete and shaped poetry dealt with an exhibition of Arion Press' Shaped Poetry portfolio at MJS Books & Graphics in New York. -- Source of annotation: Marvin or Ruth Sackner.

A wash-like painting of the sky, the sea, a road, a desert, with "Ulysses Was Here" printed on the road in classical typography. -- Source of annotation: Marvin or Ruth Sackner.

This is the preparatory drawing for the Welsh Slate sculpture that is also pictured in a card and a print with the same title. -- Source of annotation: Marvin or Ruth Sackner.