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Jo Hincks did the linocuts illustrating Finlay's one-word poems that appear, one to each page. Harry Gilonis provided the commentary on the poems and the concept of the one-word poem. He explains the background behind the Nautical terms employed by Finlay as the one-word poem relating to the various titles. This book was published on the occasion of an exhibition that was designed by Finlay and Simig. Colin Sackett laid out the typography. -- Source of annotation: Marvin or Ruth Sackner.

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This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

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Prudence Carlson wrote the essay for this catalogue. The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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Cobbing discusses the early concrete poems of Ian Hamilton Finlay, John Furnival, Kenelm Cox, Dom Sylvester Houedard, and Tom Edmonds in depth. This essay is unbpubished. -- Source of annotation: Marvin or Ruth Sackner.

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Critical essays on Finlay's work and specific poems are provided by Piotr Rypson and Tadeusz Slawek, respectively. The illustrations in this catalogue depict prints and cards of Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.

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The essay written by Stephen Bann on the back inside folder explains the metaphor of grouping designs of hulls of sailing ships like sea shells in a display case. Proctor is a ship designer and Costley the artist who made this print. -- Source of annotation: Marvin or Ruth Sackner.

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The photographs of the sculpture in Finlay's garden were made by Dave Patterson. Two brief introductory essays by Bernard Lassus and Stephen Bann are included in the first four pages. The remainder of this book consists of photographs. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Harriet Staff reviewed the book in Poetry News November 28, 2012: Ian Hamilton Finlay's new book, Selections (UC Press 2012), edited with an introduction by Alec Finlay, has been reviewed over at Booktryst. Alastair Johnston writes of Finlay's later-life recognition, noting that "[a]mong the most fatal accolades one can achieve is to be called "greatest living' anything." What follows is his poetic work in biographical context, down to the garden art (the post also includes great photos of Finlay's early books and ephemera; and links to other concrete poets and related resources): This new book compacts much of his writing into one volume. His early poems are mostly negligible, but the odd memorable line occurs ("The dancers inherit the party"-- also the title of his first book of poems). Glasgow Beasts is a charming series of childlike verses written in broad Gleskae dialect. (Finlay's early battles with the dole come off like an episode of Rab C Nesbit.)In 1963, Finlay began to...

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Reprinted from Stereo Headphones No.5, 1972. The authors debunk the assertion of Stuart Mills who in Akros No.18, 1972 stated that the poem-poster was introduced by Ian-Hamilton Finlay. They go on to further describe the pioneers of Concrete Poetry in their opinion. Rebuttals to their conclusions by Stephan Bann and Henri Chopin are also published. Mentions that Ernest Fenellosa, who died in 1908, used the term 'concrete poetry' in an essay, 'The Chinese Character as a Medium for Poetry' in 1901. -- Source of annotation: Marvin or Ruth Sackner.

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All the cards depicted in this book are held by the Sackner Archive. Futher, about five times more cards by Finlay are held by the Sacknsr Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This proposal for a revolutionary garden in Versailles was never carried out owing to a political perception in France that Finlay espoused pro-Nazi, anti-semitic views (this opinion is not shared by the Sackners). -- Source of annotation: Marvin or Ruth Sackner.

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The prior published essays in this book, edited by Ian Hamilton Finlay's son, present a comprehensive survey of his father's poetry and art, from 1958 to 1995. -- Source of annotation: Marvin or Ruth Sackner.

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This publication which was edited by Zdenek Felix and Pia Simig was published on the occasion of Finlay's exhibition entitled Works - Pure and Political at Diechtorhallen, Hamburg Germany in 1995. Includes photographs b&w of Finlay's sculptural works, documentation on their significance, and a listing of his collaborators. Archival material forming the basis for several of these works is held by the Sackner Archive, e.g., Max Plank Institute, Stuttgart (1972). -- Source of annotation: Marvin or Ruth Sackner.