Johanna Drucker contributes an introductory essay on historic aspects of visual poetry which is carried forth to multimedia information systems of today. She also was responsible for the cover design. Karl Young contributes an afterword in which he focuses on mail art. He particularly addresses his own, ongoing Shadow Project that refers to the faint traces people left on nearby surfaces after they were vaporized by the atomic bombs in Japan. Young indicates that d.a. levy stands out as the major figure in the last three decades who left an indelible inprint on underground publications and visual poetry. He also adds that Tom Phillips is the most complete book artist. The Sackner Archive partially funded this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This is a selective anthology of all the works that Weiss has done in the past. -- Source of annotation: Marvin or Ruth Sackner.

This page was a poem that was printed in the published version of Visual Voices. -- Source of annotation: Marvin or Ruth Sackner.

According to Weiss' introduction, these poems consist of a "sequence of visual poems and word-only poems based on our familiar numbering system." Weiss constructs the poems as imaginative forms or as abstract ideas; they attempt to establish close connections between numeration and imagination. The Sackner Archive also holds the book based upon this manuscript. -- Source of annotation: Marvin or Ruth Sackner.

According to Weiss' introduction, these poems consist of a "sequence of visual poems and word-only poems based on our familiar numbering system." Weiss constructs the poems as imaginative forms or as abstract ideas; they attempt to establish close connections between numeration and imagination. The Sackner Archive also holds the manuscript for this book. -- Source of annotation: Marvin or Ruth Sackner.

This is selected portion of the book in which Weiss has listed the page numbers of the aphorisms which relate to the theme of breathing. Also, he rewrote an aphorism on the title page that is printed in the book. -- Source of annotation: Marvin or Ruth Sackner.

Stored in Irving Weiss box. -- Source of annotation: Marvin or Ruth Sackner.

This poem was composed by adding a line appropriated from different classical poems by such poets as Marvell, Dryden, Jonson, Pope, Wordsworth, etc. It was printed by Milke Taylor at the Literary House Press. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Thomas Campion (1527-1620), "When thou must home." However intended, even if only as rhetorical ingenuity, this one-sentence condemnation is sharp enough to produce the effect on the reader which the blurred printing stands for. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon William Blake (1775-1827). From Milton, Book One, "The Sons of Ozoth within the Optic Nerve stand fiery glowing" to "Of that Pulsation & that Globule, terrible their power." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon John Milton's First line of Paradise Lost. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Alfred, Lord Tennyson (1809-1892), "Alexander." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Swinburne, from "Ave Atque Vale" 1837 - 1909. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon John Fletcher (1579-1625), "Weep No More." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon John Milton (1608-1674). Page excerpt from "Lycidas" in the Norton Anthology of English Literature. -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Ben Jonson, from "The Sad Shepard" -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Thomas Campion (1567-1620) "Rose -cheek'd Laura." -- Source of annotation: Marvin or Ruth Sackner.

This poem is based upon Coleridge, "Phantom" -- Source of annotation: Marvin or Ruth Sackner.