The book includes a reproduction of "man?;" the original collage is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Nineteen cards printed with text at their bottom edge were bent into a curved shape and stapled together. This poem object can be positioned in different configurations to create the image of a ship that in Finlay's vision might be adapted for travel on land. The text includes such words as "fin, bow, number, sail, etc." as locations for the various aids to make this "Earthship." The cardboard box has a few waterstains but the poem object is undamaged. According to Paul Robertson (catalogue: he patted), only 25 of these poem objects might have been actually made with the printed box. 3 -- Source of annotation: Marvin or Ruth Sackner.

Nineteen cards printed with text at their bottom edge were bent into a curved shape and stapled together. This poem object can be positioned in different configurations to create the image of a ship that in Finlay's vision might be adapted for travel on land. The text includes such words as "fin, bow, number, sail, etc." as locations for the various aids to make this "Earthship." The cardboard box has a few waterstains but the poem object is undamaged. According to Paul Robertson (catalogue: he patted), only 25 of these poem objects might have been actually made with the printed box. 3 -- Source of annotation: Marvin or Ruth Sackner.

This is a brief history of pictorial typography, with special emphasis placed on letter pictures, alphabetical pictures and shaped poetry. -- Source of annotation: Marvin or Ruth Sackner.

The two facing poems, based upon a calligram of Apollinaire, have the shape of trees but their French texts differ. One poem deals with Victor Hugo and the other has an obscure meaning. -- Source of annotation: Marvin or Ruth Sackner.

Finlay laid out D.H. Lawrence's poem, "Autumn Rain" in the style of Apollinaire's Il Pleut. -- Source of annotation: Marvin or Ruth Sackner.

This depicts the Eiffel tower as a shaped poem. The text is drawn by Furnival in his unique calligraphic style. A major portion of the poem consists of repetitive printed words, e.g., down under, stale, etage, escalation, etc. On the left side cluste word "rain" are slanted downward over the tower to emulate Apollinaire's famous poem. The rain falls on a cluster of the word "people" assembled at the base of the tower. The poem was reprinted in 1994 and both versions are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This print is depicted on page 43 of Furnival's book "Lost for Words" (2011). -- Source of annotation: Marvin or Ruth Sackner.

The layout and implications of this poem are similar to Arc d'Triomphe May 1968. Here the Eiffel tower formed by calligraphic text substitutes for Arc d'Triomphe and receives ejaculate from a penis shaped with calligraphic text, newspaper headlines and a collaged Albert-Birot print (Paridis). Text of the poem is a sympathetic response to the student rebellion in France during May 1968. -- Source of annotation: Marvin or Ruth Sackner.

This book provides excellent reproductions of ancient pattern poems. -- Source of annotation: Marvin or Ruth Sackner.

This is a duplicate print from Finlay's portfolio Headlines:Eavelines. It was probably drawn by John Furnival. -- Source of annotation: Marvin or Ruth Sackner.

Second of seven books covering J. Brossa's work of the period 1969-1975. Originally published in 1973. -- Source of annotation: Marvin or Ruth Sackner.

The author analyzes English Renaissance pattern poetry from George Herbert, Robert Herrick, Richard Willis and its relationship to the classical shaped poetry, Christian models, and emblem forms. -- Source of annotation: Marvin or Ruth Sackner.

A book lent by the Sackner Archive, "Desire," is depicted on facing pages 26 and 27. This catalogue includes a critical essay by Dore Ashton and an interview conducted by curator Terence Dempsey with Bernard Maisner in which Maisner states that he loves "the joining of the written word and the visual image in art. Language activates one part of the brain, painting another. the two together are a powerful one, a powerful combination requiring a very receptive viewer." -- Source of annotation: Marvin or Ruth Sackner.

Hans Magnus Enzensberger is a contempory German poet, writer, and political theoretician who has been widely translated into English. This project was done by graphic design students in Krakau, Mainz, and Warsaw. -- Source of annotation: Marvin or Ruth Sackner.

This is the same print in the Mercato del Sale Jan 1976 issue but collaged onto a blue mat with added green paint and glue at the top border. -- Source of annotation: Marvin or Ruth Sackner.

E -- Source of annotation: Marvin or Ruth Sackner.