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.

This photograph depicts a sundial sculpture, "The Four, Seas, -Ons In, Sail. A sail is placed in the center to deflect the sun and cast a shadow. -- Source of annotation: Marvin or Ruth Sackner.

This finely printed book consists of a listing of aphorisms such as 1) Vengeance is an act of good faith, 2) Concrete poems were thought childish because they were seen but not heard, 3) Schemes for making a great deal of money usually cost a lot. -- Source of annotation: Marvin or Ruth Sackner.

The eight colored prints play off the image of the Pansey, the flower as a camouflaged image of Panzer, the German armored tank. A section of this book is entitled, "Detached Sentances on Camouflage: In the Manner of Shenstone. William Snenstone (1714-1763) was a poet and gardner. This list aphorisms about floral and military tank camouflage. -- 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 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.

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 medal depicts an automatic machine gun as a metaphor for a flute; commemorates first episode of an assult by the Strathclyde Region tax collectors on Finlay's home. The leaflet accompanyimg this medal commemorating the incident is a visual pun on Virgil's flute, with the vents in the barrel-sleeve as the finger-stops. -- Source of annotation: Marvin or Ruth Sackner.

This essay is another copy of the manuscript with slightly different handwritten correctionss and appeared in ISIS No.1507, 1966, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Flyer advertising a series of exhibitions entitled "The Forest and the Revolution" held from May-October 1981 in Stonypath Garden and the Garden Temple in Finlay's Little Sparta in Lanarck, Scotland. Exhibitions included "Souvenirs of the French Revolution", "Nine Columns", "Names on Trees", "Talismans and Signifiers", "Classic Landscapes", "Pantheon of the Revolution", "Zeno and Epicurus", "Raspberry Camouflage", and "Spartan and Old Roman Promenades", as well as other publications and plantings.

The card is shaped like an arrow and has been made from marbled paper, a pun on the poem printed along an inside fold, "The Marble Arrow Always Hits Its Mark!" -- Source of annotation: Marvin or Ruth Sackner.

Stephan Bann provides an explanation of the poem in the accompanying leaflet as follows. Thermidor was the month in the French Revolutionary calendar when the summer heat was its most intense, and the grain at its ripest. It was also the month, in 1794, when Robespierre and his followers met their deaths at the guillotine. In the image of this poem, the abrupt cleavage of the word, THER MIDOR, and of the figured sheaf of flowers, suggest the termination of the revolution in its Jacobian sense. -- Source of annotation: Marvin or Ruth Sackner.

Relates to the World War II battle of Midway. -- Source of annotation: Marvin or Ruth Sackner.

A folded sheet onto which is printed a critical text by Stephen Bann accompanies this medallion. The image is a metaphor for the World War II battle of Midway in the South Pacific which was fought with airpower rather that ship to ship sightings. The text accompanying this work is stored in a box of Finlay booklets. -- Source of annotation: Marvin or Ruth Sackner.

Image is an armored tank. -- Source of annotation: Marvin or Ruth Sackner.

The twine is blue and the string is white. -- Source of annotation: Marvin or Ruth Sackner.

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.

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 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.