At Finlay's Serpentine exhibition (1977) in which Bernini's "Apollo and Daphne" was shown, the Nazi SS organization was equated with nature. It signified the ultimate 'wildness' on a scale whose other 'cultivated' extreme was the 18th century. This book traces the progression (or descent) from the civilized script of this period in which 'f's were customerly substituted for 's's - to the double lightening stroke emblem of the SS; a gradation between 'Culture' and 'Nature.' -- Source of annotation: Marvin or Ruth Sackner.

The back cover of the card reads, "Valentine." The flower at the beginning of each phrase of the poem is depicted in its recto view. A card with the same layout with the title "he loves her" is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The text (title) lists instructions for a Christmas play. -- Source of annotation: Marvin or Ruth Sackner.

The titles are printed on gray and green colored cards that relate to these minimalist poems. -- Source of annotation: Marvin or Ruth Sackner.

A poster that exhorts Finlay friends to help in his despute with the regional tax collectors. -- Source of annotation: Marvin or Ruth Sackner.

Ian Hamilton Finlay contributed a conventional poem entitled "Orkney Interior." Michel Butor wrote an essay on Baudelaire. An excerpt from "Kadish" by Allen Ginsberg is printed in this issue. Charles Olson contributed a poem with concrete poetic elements, Edwin Morgan wrote an essay on "Jean Genet: A Life and its Legend." "Naked Lunch" by William Burroughs was reviewed. -- Source of annotation: Marvin or Ruth Sackner.

The two facing pages of this book depicts silhouettes of four sailing and war ships with captions on the left side and two battle ships along with two imagined ships on the right side. The later consist of an astronaut's view of the earth entitled, "Astronaut's Flattop - earth, and a flower with two leaves in a pond entitled, L'envoi: Queen of the floating pond - Lys. The last page of the boat provides explanations for the captions of the poems. The Sackner Archive also holds the Archive for this work including another copy of the book as well as the ink drawings for it. -- Source of annotation: Marvin or Ruth Sackner.

The poem extolls the usefulness of a luggage tag. -- Source of annotation: Marvin or Ruth Sackner.

The poem extolls the usefulness of a luggage tag. -- Source of annotation: Marvin or Ruth Sackner.

The set contains one well-known concrete poem printed on a card of varied colored stock by each contributor. The loose sheet is a manifesto by Gomringer entitled "from line to constellation" which was first printed in Augenblick No.2. It has been translated into English by Mike Weaver. The set was presumably sold at the Brighton poetry festival. -- Source of annotation: Marvin or Ruth Sackner.

Five prints were adapted by Hinks from drawings by Claude Lorrain (1640, 1642, 1643, 1649). The texts of the tree plaques for this proposal were taken from classical sources in Latin and Greek literature. -- Source of annotation: Marvin or Ruth Sackner.

The columns are inscribed with the name of six persons prominent in the French revolution and they are coupled in pairs because of a relationship. They include LeBas & Saint-Just, Camille (Desmoulins), a revolutionary journalist & Lucille, his wife, and Marat & Charlotte (Corday) his assassin. -- Source of annotation: Marvin or Ruth Sackner.

Skylarks are ground birds with aerial songs. -- Source of annotation: Marvin or Ruth Sackner.

This is a preparatory drawing for a sculpture with the same title. -- Source of annotation: Marvin or Ruth Sackner.