This is the second printing of the book. The final section consists of 12 concrete, typewriter poems. The Sackner Archive holds the originals of HURLUB and BROnze fasHIONs that are reproduced in this section. It also holds varients of NORMS that is printed in this section. -- Source of annotation: Marvin or Ruth Sackner.

Introduction by G. Bowering notes that the four volumes of this publication cover the period from the early 1960's to 1983. Volume includes selection of each poet's work, a brief biography, bibliography and photograph. -- Source of annotation: Marvin or Ruth Sackner.

Volume includes selection of each poet's work as well as a brief biography, bibliography and photograph. -- Source of annotation: Marvin or Ruth Sackner.

This book includes selection of each poet's work as well as a brief biography, bibliography and photograph. -- Source of annotation: Marvin or Ruth Sackner.

The cover reproduces a visual poetic collage with a fragment of a map of Akron, Ohio. The poems in this book are laid out such that their right borders form cresents. -- Source of annotation: Marvin or Ruth Sackner.

Sanders' drawings that illustrate the poems are reminiscent of Jake Berry's ones. -- Source of annotation: Marvin or Ruth Sackner.

The wood engraving illustrations are by John De Pol. -- Source of annotation: Marvin or Ruth Sackner.

This is the 3rd edition of the book even though it was purported to be a 1st edition by the publisher who was supported in part by the British Arts Council. This attribution led to a lengthy legal battle between Finlay & Fulcrum Press. -- Source of annotation: Marvin or Ruth Sackner.

According to Alec Finlay, this book included all the poems Finlay wanted reprinted as of 1996. It reprinted 46 of the 48 poems in The Dancers Inherit the Party, the Scottish poem entitled, Glasgow Beasts, that was illustrated with papercuts by John Picking and Pete McGinn, and Orkney Lyrics illustrated by John Arran. Robert Creeley contributed a brief foreward and Alec Finlay a long afterward that provides historic information about Finlay's early poetic years. -- Source of annotation: Marvin or Ruth Sackner.

The word, "new" in ink has been added to the last line of the poem on page 33, which does not appear in the other copy held by the Sackner Archive. The print and cover design were made by Zeljko Kujundzic. This copy was owned by Edwin Morgan, a well-known Scottish poet. The book was subsequently published by Fulcrum Press in 1969 and advertised as a 1st edition, a fact disputed by Finlay that led to a lengthy legal battle between him and the British Arts Council who sponsored Fulcrum Press.This pamphlet was advertised in Migrant No.8, 1960 for $0.25. -- Source of annotation: Marvin or Ruth Sackner.

From the back cover: "World-leading text artists and poets are brought together for the first time in one anthology. Over 100 contributors...the anthology is a gathering of language pioneers, be they artist or poet. It is in two volumes, one paper and the other virtual." A short interview with Ruth and Marvin Sackner is contained in the paper book and a complete interview with Philip Davenport is contained in the electronic version. -- Source of annotation: Marvin or Ruth Sackner.

The abstract oil painting on brown paper that is collaged onto cover was done by d.a. levy. -- Source of annotation: Marvin or Ruth Sackner.

Collage cover of photographic b&w reproductions of female nudes was composed by d.a. levy. -- Source of annotation: Marvin or Ruth Sackner.

Introduction by Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.