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Abraxas is the name applied by ancient gnostic sects to the Supreme Being, who was, collectively, all the spirits of the earth. The magical "abracadabra" was derived from Abraxas. -- Source of annotation: Marvin or Ruth Sackner.

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Six artists transformed an apartment in a Toronto High rise building in a sequence of exhibitions. This catalogue documents the space. -- Source of annotation: Marvin or Ruth Sackner.

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This work is labeed '2' in this four poem sequence. The title is a nonsense word. Weiner died in 1997. -- Source of annotation: Marvin or Ruth Sackner.

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These poems are based upon naval light and flag signaling using the "International Code of Signals (British 1899) ." -- Source of annotation: Marvin or Ruth Sackner.

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This work is labeed '3' in this four poem sequence. The title is a nonsense word. Weiner died in 1997. -- Source of annotation: Marvin or Ruth Sackner.

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This work is labeed '4' in this four poem sequence. The title is a nonsense word. Weiner died in 1997. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Kirby Malone and Marshall Reese. -- Source of annotation: Marvin or Ruth Sackner.

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The card depicts Morse code symbols of dots and dashes. This card is stored with other cards published by Hard Press. The symbols were used for stage directions in Weiner's play "RJ" included in "The Kenning Anthology of Poets Theater 1945-1985" that is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The card is addressed to Bernadette Walsh aka Bernadette Mayer who heads The Poetry Project in NYC. Weiner has written on each ruled page of this student style notebook a series of promises some of which can be read in a straight foward fashion, others omitting articles, verbs and nouns, and still others an incorrect tense to the verbs. These errors increase progressively over the course of this book which begins, "I promise to write readible and coherent letters. I promise to write a filthy book." Further, the sizes of the writing are also instructions for printed layout. Finally, scatteed throughout the book is the phrase Big Word, another instruction. During the period of writing this book (one of several hundred in this style), Weiner became a pyschotic recluse living in Manhattan. She emerged from this state about 1977. -- Source of annotation: Marvin or Ruth Sackner.

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This issue deals with concrete and visual poetry as well as experimental fiction. Notable contributions include concrete poems by Raymond Federman and Keith Robertson. The pamphlet by John M. Bennett is entitled "Image Standards." The covers depict concrete poems by Richard Kostelanetz. The folded poster is an uncut single sheet for Kostelanetz's booklet, "Modulations." -- Source of annotation: Marvin or Ruth Sackner.

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The recording consists of an interview between Charles Bernstein, and, Weiner and Scalipino who also did a reading. Stored in box containing tape cassette periodicals of Linebreak, Recorthings and Tellus. -- Source of annotation: Marvin or Ruth Sackner.

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Catalog lists writers from Gadd to Gysin. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This antholgy of Weiner's works was edited by Patrick F. Durgen who also wrote the introduction. Hannah Weiner's Early and Clairvoyant Journals by Patrick Durgin is also on http://orpheus.ucsd.edu/speccoll/m504/index.html. "Typing to you a thoug[h]t is seen cartridge script machine." Hannah Weiner, letter to Bernadette Mayer, April 19, 1975. It is an extremely rare thing in any field to invent a new form. Invention, as such, momentarily collapses the frontier between theory and practice. This is why it not only invariably widens the scope of that field's potential acheivements, but it appears to us, in hindsight, as an event, a phenomenon, a content through which to bring the overall form of that field into historical relief. Although largely unknown and practically unread, Hannah Weiner accomplished such an invention. She called it "large-sheet poetry" - I call it "avant-garde journalism." With the publication of Weiner's major works of the 1970s, we come a long way toward filling...

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The book has three long poems, Page, Articles, and Same Page and was published posthumously. Weiner was born in 1928 and died in 1997. These poems are written in the experimental style of David Antin. -- Source of annotation: Marvin or Ruth Sackner.