This is one of the earliest collaborations with Furnival who would be a close friend (until Finlay asked him to punch someone for him who he felt had slighted him and was about to arrive at Furnival’s house from the train and the latter reasonably refused leading to a breach between them) .

This was the first number of POTH to publish Finlay’s own concrete poems – the work is Homage to Malevich – where a text block made up of combinations of the words LACK BLOCK and BLACK create a rectangle which is reflected in a drawing below (by Peter Stitt from Finlay’s instructions). This work is published in other books by Finlay including Rapel. A significant section of the pages in this number are dedicated to Russian avant garde writers – mostly translated in part by Edwin Morgan and the number is dedicated to the memory of those writers including Malevich.

Importantly this was the first number of POTH that contains a work that is clearly identifiable as a concrete or visual poem – the back cover has three works by Marcelo Moura, Pedro Xista, Augusto de Campos which Finlay notes are “Concrete Poems from Brazil”. It appears it was the South American poets who first gained Finlay’s attention and led him to primarily work in the milieu.

Some copies of POTH Nr 6 have a printed slip inserted announcing that “From now on, P.O.T.H. will contain graphic art as well as poetry” – although this copy does not have that slip – but that is a further indication that this was a pivotal number of the journal.