The cover design depicts the title and its mirror image. -- Source of annotation: Marvin or Ruth Sackner.

Includes an exhibition review of Kickshaws Press 10 years' retrospective held in Paris. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds an English language version of the book, "Meanwhile Life Went On." -- Source of annotation: Marvin or Ruth Sackner.

Printed on Arches paper. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds a French language edition of the book, "Cependant la Vie Continuait." The theme of this absurd tale is the senses gone awry. -- Source of annotation: Marvin or Ruth Sackner.

The illustrations consist of dense clusters of letters and words printed with several type faces and spacings. It starts as an incomprehensible mound of dropped type which gets smaller on each page as letters are selected to tell a story, set above in neat lines, bringing order out of chaos, -- Source of annotation: Marvin or Ruth Sackner.

The illustrations consist of dense clusters of letters and wordsprinted with several type faces and spacings. It starts as an incomprehensible mound of dropped type which gets smaller on each page as letters are selected to tell a story, set above in neat lines, bringing order out of chaos. -- Source of annotation: Marvin or Ruth Sackner.

This is an erotic illustrated novel that begins with juvenille, masculine, sexual awaking and continues through first romance and then to sexual fantasies. The book was written by Crombie and the slipcase, available only in the special edition, was designed by Bourne. -- Source of annotation: Marvin or Ruth Sackner.

The pages are designed to appear like embroidered quilts. The funny, macabre story is about Mary Ann who becomes a veritable human human torch as the tale unravels. The illustations and typography are both plays on the ideas of quilt-making. So named because each sheet looks like an old fashioned, cross-stitched sampler. It is about Mary Ann, born 1909. We meet her on the first page surrounded by dozens of cross-stitched pictures which later reappear as her gloomy story unfolds. They include a flatiron, a goat, a pig, a sinister man on a bicycle, etc., in a wide range of pastel colours: black is absent until her obituary on the last page. From her life and hard times, Mary Ann could have appropriately been called Calamity Jane but while her tale is desperate, its telling and illustrating is a frivolous delight. -- Source of annotation: Marvin or Ruth Sackner.