This advertisement includes text for Curvd H&Z, th wrrecking ballzark, pomez a penny, and sticky lights. The found poetry was taken from comic strip captions. -- Source of annotation: Marvin or Ruth Sackner.

This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

curry traces the development of concrete and visual poetry in Toronto for an essay in Cross-Canada Writers' Quarterly Vol.9 No.3-4, 1987, a periodical held by the Sackner Archive. He lists Earle Birney's book entitled pnomes jukollages and other stunzas 1969, as the first concrete poetry by a main stream Canadian poet. He comments that bp Nichol's 1st book, Cycles etc., 7 Flowers Press, were chant structures that relied heavily on visual sonic similarities between words. -- Source of annotation: Marvin or Ruth Sackner.

curry then briefly comments on Toronto poets and their activities in concrete, visual, and sound poetry up to the time of publication of the essay in 1987. The 2nd version of the manuscript was submitted for publication to Cross-Canada Writers Quarte In the Afterward written for Innovations in 1989, curry corrects errors in the original essay and comments upon younger poets not mentioned in the earlier essay, e.g., Daniel f. Bradley, Steven Smith, Gary Barwin, Stuart Ross, Steve Venright, -- Source of annotation: Marvin or Ruth Sackner.

The handwritten manuscript consists of a bibliography for the essay and the afterward contribution to Innovations. The typed version was submitted to Innovations as the final version. It included reprinting the original essay with corrections publish in Cross-Canada Writers Quarterly in 1987 and the new afterward and bibliography. curry in a letter to the Sackners complained of editing by Innovations 1 & CCWQ 9:3/4, magazines in which this version appeared; both omitted his bibliography. -- Source of annotation: Marvin or Ruth Sackner.

Produced by David UU. -- Source of annotation: Marvin or Ruth Sackner.

Maquette was designed for the periodical, Abacus, which never published the work. -- Source of annotation: Marvin or Ruth Sackner.

The pages depict photographs of an attractive young woman in full frontal nudity altered with collaged fragmented text. This work was reprinted in a bound copy by curry in 1996. -- Source of annotation: Marvin or Ruth Sackner.

Includes several essays on the historic beginnings of Canadian concrete, visual, and sound poetry. The Archive for the essay by jw curry, Defying Linear Deification... is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The page of this leaflet consists of overlapping fingerprints. Also designated th wrecking ballzark #50 and one cent #111. -- Source of annotation: Marvin or Ruth Sackner.

Also designated card #37 and th wrecking ballzark #61. The two copies of this card are printed on slightly different colored paper stock. -- Source of annotation: Marvin or Ruth Sackner.

Reviews international small press scene. -- Source of annotation: Marvin or Ruth Sackner.

These photographs were taken at a Visual Poetry conference attended by Marvin Sackner at the University of Alberta, Edmonton Canada, June 18-21, 1997. -- Source of annotation: Marvin or Ruth Sackner.

The three copies in the Sackner Archive differ in the binding (string spine vs. stapled) and the color of the paper stock used for the cover. The cover was designed by jw curry. -- Source of annotation: Marvin or Ruth Sackner.

Cover was designed by bp Nichol. -- Source of annotation: Marvin or Ruth Sackner.

An image on each page depicts the letter 'i' formed by fingerprints. -- Source of annotation: Marvin or Ruth Sackner.