In the first section, the poetry is set into four vertical columns interspersed with calligraphic drawings and text. In the second part, the handwritten text is freer and more inventive and is combined with drawings of hairy creatures, Egyptian figures and other oddities. -- Source of annotation: Marvin or Ruth Sackner.

The shape of the poem is in the form of a five legged creature. -- Source of annotation: Marvin or Ruth Sackner.

The illustrations or "illumagery" by Sorin complement the fractured and inventive texts by Basinski. The frenzied texts are fashioned in a Neo-Dada like context and arrangement that are probably performed by Basinski. -- Source of annotation: Marvin or Ruth Sackner.

Marvin Sackner heard Basinski perform this poem at a symposium held in conjunction with the exhibition, "An American Avant Garde: Second Wave" at Ohio State University in 2002. Basinski read from the poem and commented on the images while turning the drawing side to side and upside down. After he completed this very droll performance, Sackner came up from the audience to ask him if he had ever recorded it. Basinski replied "no, because it is never the same each time that I do it." -- Source of annotation: Marvin or Ruth Sackner.

This book consist of the scores five single or multiple sound/performance poems with notes on the poems in a section at the end of the book. The poems are highly graphic in nature and are intended as a guide to the performer. -- Source of annotation: Marvin or Ruth Sackner.

The dust jacket reproduces a collage by Jess. -- Source of annotation: Marvin or Ruth Sackner.

This book reproduces examples of correspondence between Basinski and Beaulieu, publisher of House Press. Beaulieu also designed the covers. -- Source of annotation: Marvin or Ruth Sackner.

The title page reads - Gnostic: the nome of she are words of power, unspeakable and dwelling in forrest shadow in the midst of insect song. -- Source of annotation: Marvin or Ruth Sackner.

This article describes how "Michael Basinski's visual poetry flourishes in and beyond the Internet world of Webzines." -- Source of annotation: Marvin or Ruth Sackner.

This drawing as well as many of other works by Basinski is performed by Basinski in his unique, extemporaneous manner. Basinski writed in an accompanying letter, "Here in paper work from mailed FISH FRY (A favorite in Catholic Lent old time buffalo - I find it most amsusing (sic) like a spring rite of passage). Hope you are well and thank you for adding FISH FRY to your marvelous collection." -- Source of annotation: Marvin or Ruth Sackner.

Subtitled "Visual poetry and personal experience" this massive notebook contains writings and interviews on poetic and personal experiences of Huth. In diary-like form from his blog, Huth contributes concrete and visual poems. This work is an example of Huth's brilliance as a poet, writer, archivist, critic and publisher. A visit by Huth to the Sackner Archive on April 13, 2004 titled "Home Sweet Museum" is described. In an illuminating essay dated June 15, 2004 Huth describes how he writes and how he creates fidgetglyphs. -- Source of annotation: Marvin or Ruth Sackner.

The card provides instruction for this Fluxus-like piece: "Ask several people in the audience to bark like dogs and cue and correct them. Variously tell them to shut up." -- Source of annotation: Marvin or Ruth Sackner.

The theme of this poem is mushrooms. -- Source of annotation: Marvin or Ruth Sackner.