Rubber balloon incorporated into cover design. -- Source of annotation: Marvin or Ruth Sackner.

Leopold Sedar Senghor was a Sengalese poet, politician and cultural theorist who served as the first president of Senegal for two decades. He was the first African elected as a member of the Academie francais. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

The poem is slanted downward to the right and translates as "My Horizon." Designated as blatt 55.78. -- Source of annotation: Marvin or Ruth Sackner.

This print was published as page 37 in Ceolfrith No.28: Bob Cobbing & Writers Forum. -- Source of annotation: Marvin or Ruth Sackner.

This poem was submitted for publication in Pink Peace. Cobbing notes on the verso of this print that this a new - and somewhat differently aimed version of the original two pages of the poem. -- Source of annotation: Marvin or Ruth Sackner.

The piece has writing on it in two places, reading, "I was a trophy wife" and "After us the savage god."

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

One poem is printed on each of the pages except for a few pages with brief commentary.The following text is printed on the back cover. "Literature is the only artform whose organon is already symbolic. Concrete poetry has always been devoted to the breakdown of the assumed symbolism, either to reform a new one or to celebrate raw, lingual materiality for its own sake. While one branch seeks a new understanding of what was always there through this breakdown - most evident in 'found poetry' - and this is called the 'collective branch'; the other, the ideomorphic, seeks to forever push the process into fresh and singular dislocation. Here are three poets with the latter propensity: Haiku-focused LeRoy Gorman with his constuctivist tendencies, the more sculptural Daniel f. Bradley, minimalist panache in tow and cheek and the graphically ham-fisted Marshall Hryciuk, who feels positively didactic next to the other two." -- Source of annotation: Marvin or Ruth Sackner.

The concrete poems by Belsey in this book are highly innovative and entertaining. -- Source of annotation: Marvin or Ruth Sackner.

This print is based upon a larger silkscreen multiple on steel done in 1975. It depicts the logo of coca-cola with the word "oca" in its middle; the Italian word "oca" means "silly goose" in English. -- Source of annotation: Marvin or Ruth Sackner.

The pages of this book are black and the poems and illustrations are grey, blue, red and turquoise. The hand done typography is highly stylized. -- Source of annotation: Marvin or Ruth Sackner.

Designated Card Seies No.9. -- Source of annotation: Marvin or Ruth Sackner.