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With the exception of the signatures of the authors, this limited edition does not differ from the ordinary edition. The added price was set to subsidize the publication of the trade edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

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In this book, Antin mentions that he considers his "Talking" works as poems. He also adds that some of them classified as concrete poems depending upon their layout on the page. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Clive Phillpot coined the term "magazine art" as "art conceived specifically for magazine content, and, therefore, art which is realized only when the magazine itself has been commposed and printed. Alexander Proven Amaxon.com: Allen's book is a great chronicle of the rise and fall of artists' magazines--among them Aspen, 0 to 9, Avalanche, Art-Rite, FILE, and Real Life--that, in the 60s, 70s, and 80s, provided a space for artists to colonize the discourse of the art world, and do so in their own voices. Artists like Robert Smithson, Dan Graham, Mel Bochner, and Vito Acconci created magazine art where criticism had once been, emphasizing the materiality of language, denying its ability to communicate. (Graham's "Schema," a site-specific instructional piece published in a variety of magazines in the 60s and 70s, is a paramount example; it consisted of a template to be completed by the editor, in accordance with the magazine's typography, design, and layout, producing a new work in...

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The school notebook format for this book was designed by Eleanor Antin. This is the first edition of the author's first book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Publishers Weekly: "From hypertext to visual/kinetic text to writing in a networked and programmable media, there is a tangible feel of arrival in the spelled air" of on-line poetry. In Digital Poetics: The Making of E-Poetries, Loss Pequeno Glazier (The Parts), professor and director of SUNY Buffalo's esteemed Electronic Poetry Center (wings.buffalo.edu/epc), theorizes on the practices and potentials of this inchoate medium-cum-venue. Tracing this 21st-century electronic evolution of poets' "awareness of the conditions of texts" to 20th-century experimental poetry, Glazier delineates the Wild West of formal innovation (e.g., interactive poetries; "books" whose contents can be constantly reordered) and explores the inevitable changes this will precipitate in content. The book is part of the Modern and Contemporary Poetics series edited by poet-critics Charles Bernstein and Hank Lazer.Redriff Books: In Digital Poetics, Loss Glazier argues that the increase in computer technology and...

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According to text on the dust jacket, this book "examines some of the most interesting and experimental contemporary writers whose work forms a counterpoint to the mainstream writing of our time." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents An Epigram is a brief, clever, and usually memorable statement. Derived from the Greek: "to write on - inscribe"[1], the literary device has been employed for over two millennia. The Greek tradition of epigrams began as poems inscribed on votive offerings at sanctuaries "” including statues of athletes "” and on funerary monuments, for example "Go tell it to the Spartans, passer-by"¦". These original epigrams did the same job as a short prose text might have done, but in verse. Epigram became a literary genre in the Hellenistic period, probably developing out of scholarly collections of inscriptional epigrams. Though modern epigrams are usually thought of as very short, Greek literary epigram was not always as short as later examples, and the divide between 'epigram' and 'elegy' is sometimes indistinct (they share a characteristic metre, elegiac couplets); all the same, the origin of the genre in inscription exerted a residual pressure to keep things concise. Many of the...

Scope and Contents Amazon.com review: "Impossible Histories is the first critical survey of the extraordinary experiments in the arts that took place in the former Yugoslavia from the country's founding in 1918 to its breakup in 1991. The combination of Austro-Hungarian, French, German, Italian, and Turkish influences gave Yugoslavia's avant-gardes a distinct character unlike those of other Eastern and Central European avant-gardes. Censorship and suppression kept much of the work far from the eyes and ears of the Yugoslav people, while language barriers and the inaccessibility of archives caused it to remain largely unknown to Western scholars. Even at this late stage in the scholarly investigation of the avant-garde, few Westerners have heard of the movements Belgrade surrealism, signalism, Yugo-Dada, and zenitism; the groups Alfa, Exat 51, Gorgona, OHO, and Scipion Nasice Sisters Theater; or the magazines Danas, Red Pilot, Tank, Vecnost, and Zvrk. The pieces in this collection offer comparative...

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Edited by Pierre Joris, this book was a festschrift for Jerome Rothenberg on the occasion of his sixtieth birthday. -- Source of annotation: Marvin or Ruth Sackner.

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Several of the books listed in this catalogue were formerly in the library of Armand Schwerner. -- Source of annotation: Marvin or Ruth Sackner.