This print was taken from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

This print was reproduced from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

Houedard addresses Donato as Danilo, typing the name as an optical image concrete poem. His own signature is also typed as an optical image. He thanks Cinicolo for sending him his project book and indicates that he should tell Hansjorg Mayer that he will send him Dana Atchley's Notebook. -- Source of annotation: Marvin or Ruth Sackner.

The prints show water damage in the lower part of the unprinted area but the images are intact. The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. The print image depicted here was scanned from the book by Williams, "Blues & Roots Rue & Bluets" (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. -- Source of annotation: Marvin or Ruth Sackner.