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.

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.

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.

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.

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

Printed by Katherine Kuehn. -- Source of annotation: Marvin or Ruth Sackner.

Printed by Katherine Kuehn. -- Source of annotation: Marvin or Ruth Sackner.

The cover and illustrations in the text were done by Tom Phillips. The book is an anthology of previously published poems, e.g., White Sun Black Sun, Between, Sightings & Further Sightings, Poland/1931, etc. -- Source of annotation: Marvin or Ruth Sackner.

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

This extensive poetry anthology has brief comments that accompany each poem. It includes an English translation of Cendrars and Delaunay's 'The Prose of the Trans-Siberian and of Little Jeanne of France,' a work held in the original by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This extensive poetry anthology has brief comments that accompany each poem. It includes an English translation of Cendrars and Delaunay's 'The Prose of the Trans-Siberian and of Little Jeanne of France,' a work held in the original by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The cover design depicts a page of Tom Phillips' A Humument. This extensive poetry anthology has brief comments that accompany some of the poems, -- Source of annotation: Marvin or Ruth Sackner.

The cover design depicts a page of Tom Phillips' A Humument. There are brief comments that accompany some of the poems in this extensive poetry anthology. -- Source of annotation: Marvin or Ruth Sackner.

This book includes "14 Stations, a poem that joins the concise verbal techniques of gematria (traditional Hebrew numerology) with the stark agonies of the Holocaust." -- Source of annotation: Marvin or Ruth Sackner.

This book predates and includes thoughts and notes that were included in "Big Jewish Book." of 1978, also held by the Sackner Archive. The covers, end papers, and text graphics are reprinted from angelic and planetary seals. -- Source of annotation: Marvin or Ruth Sackner.