This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

curry traces the development of concrete and visual poetry in Toronto for an essay in Cross-Canada Writers' Quarterly Vol.9 No.3-4, 1987, a periodical held by the Sackner Archive. He lists Earle Birney's book entitled pnomes jukollages and other stunzas 1969, as the first concrete poetry by a main stream Canadian poet. He comments that bp Nichol's 1st book, Cycles etc., 7 Flowers Press, were chant structures that relied heavily on visual sonic similarities between words. -- Source of annotation: Marvin or Ruth Sackner.

The block letterforms with equal dimensions and spacings have positive/negative structures that give rise to optical effects. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2nd edition of the poem first published as Curvd H&Z #23. Also designated th wrecking ballzark #13 and pomez a penny #29. The poem consists of the fragmentation of the word "incest." -- Source of annotation: Marvin or Ruth Sackner.

The poem reads 'POST-TU-LATE.' This is the 2nd edition of poem first published by Ganglia 1969. Also designated pomez a penny #37 and th wrecking ballzark #17. -- Source of annotation: Marvin or Ruth Sackner.

The poem is a double entendre which reads, "Post Tu Late." One copy measures 10 x 17.4 cm, the other 12.2 x 16.7 cm. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet was also published as Gronk Series 5 No.3. -- Source of annotation: Marvin or Ruth Sackner.

John Riddell contributed poems as Jay Riddell and composed these poems in the spelling style of bill bissett. -- Source of annotation: Marvin or Ruth Sackner.

This book was first published in an edition of two copies in 1966 as a collaboration with David Aylard. One copy is in the Hans Sohm Archives and the other was retained by Nichol. It was made with a combination of rubberstamping and mimeography. The present book was composed with a combination of rubberstamping and photocopying. -- Source of annotation: Marvin or Ruth Sackner.

Probably published in an edition of 400 copies. -- Source of annotation: Marvin or Ruth Sackner.

Usually published in an edition of 400 copies. -- Source of annotation: Marvin or Ruth Sackner.

This anthology Includes reprints of a selection of curry's publishing activities focusing on his rubberstampings of minimalistic and concrete poems of his own and his circle of poets. Dean comments: this making precious of the single poem was the result of necessity as much as esthetic deliberation; curry published within a finite small budget. This could have caused poor-quality production, i.e. Gestetner, offset or xerox. Instead it resulted in hand-stamp, hand-set rubber type, as his chosen (& unique) means of publication. His scaled down book remained both anarchic and typographically refined. -- Source of annotation: Marvin or Ruth Sackner.

This includes an essay by Peter Day about a reminiscence of Shunt Basmajian just before Day died as this issue was going to press. -- Source of annotation: Marvin or Ruth Sackner.

The Sackners made major purchases of Canadian concrete poetry from this catalogue. Nelson Ball, the poet was the proprietor of this bookshop. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue has an extensive listing of Ganglia Press publications. -- Source of annotation: Marvin or Ruth Sackner.

The cover was designed as a shaped, landscape poem by Alexis Wallrich. -- Source of annotation: Marvin or Ruth Sackner.

Depicts block letters of square dimensions arranged like a crossword puzzle -- Source of annotation: Marvin or Ruth Sackner.

Endwar titles a poem from a word(s) and fragments it(them) into clusters and spaces, while retaining the same order of the letters, to form a new poem which can be read from top to bottom. In the folded sheet, endwar explains his poetry as subverse poetry, a type of subtractive, permutational or anagrammatic poetry. -- Source of annotation: Marvin or Ruth Sackner.