Scope and Contents

In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The subtitle of this book is "Some Works & Projections about the Book & Writing." It is divided into four sections" Pre-faces; The Opening of the Field; The Book Is as Old as Fire & Water; and The Book to Come. Marjorie Perloff contributes an essay from "The Futurist Moment" in which she describes "La Prose du Transsiberien" by Cendrars and Delaunay. The book Includes two fold-out pages that reproduce this work as well as an English translation of the poem (the original of this book is held by the Sackner Archive).Gerald Janecek contributed an essay from "Kruchonykh and the Manuscript Books" describing Old Fashioned Love,' 'A Game in Hell and 'World Backwards.' Johanna Drucker wrote, "The Artist's Book as Idea and Form" in which she describes the artist's book as "the quintessential twentieth-century artform. Artists's books appear in every major movement in art and literature and have provided a unique means of realizing works within all of the many avant-garde,...

Scope and Contents

This book deals with aspects of concrete poetry paying debt to Cobbing and other pioneers. Chris Jones' essay provides several definitions of concrete poetry, stating that "it is helpful to think of concrete poetry as being an umbrella term for those processes...who share a concern with text (words, letters, phonemes, signs) as their material." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The colophon has three coat check tickets indicating that this copy is 467; however, there are only 50 copies in the edition, numbered from 450-500. To eliminate confusion in this listing, this copy is designated 17/50. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The cover reproduces a verifax collage by Wallace Berman. The poems deal with the tragedy of the Holocaust. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The calligraphic-like drawings in this book were done by Demosthenes Agrafiotis. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The presses listed in this catalog publishing artists' books include Circle Press, Coracle Press, Editions Alecto, Hansjorg Mayer, Marlborough Graphics, Waddington Galleries, Will and Sebastian Carter, World's End Press and Tetrad Press. Several books described in the catalog are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was first published in German in 1965. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a reworking and representation of material that originally appeaed in Rothenberg's "A Big Jewish Book" (1978), a book also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Jerome Rothenberg contributes a pre-face in which he writes that "Footnotes, presented here, is the accounting of where Alison Knowles' feet (and hands and mind) have taken her." The pages of this book are reproductions of notebook pages dating from 1975 to 1995, inscribed and collaged by Knowles. As Knowles herself stated, "It is important to remember that we are free to make art and poetry out of anything: A loaf of bread, some beans, a hasty jotting on the train." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In his book, "Post/Face," Rothenberg writes that gematria is a form of traditional Jewish numerology using "the fact that every letter of the Hebrew alphabet is also a number, & that words or phrases, the sums of whose letters are equal are at some level meaningfully connected." These coincidences serve as an entry for Rothenberg into the kinds of correspondences or constellations that have been central to modernist & post-modernist poetry experiments over the last century & a half. -- Source of annotation: Marvin or Ruth Sackner.