This is Johnson's second novel. It recounts the life of Albert Angelo, a school teacher in several styles of writing and varied page layouts. The novel comprises five chapters, viz., prologue, exposition, development, disintegration, and coda. The prologue is mainly laid out like a drama. The first section of the chapter 2, exposition, is written in first person singular. The second section, that is written in second person singular, also includes some unusual punctuation marks. The third section is written in the third person singular, the fourth in first person plural, the fifth in second person plural, and the sixth in third person plural. Chapter 2, development, is mainly printed in two columns, the left sided tells the main story, the right sided has comments that are printed in Italics. -- Source of annotation: Marvin or Ruth Sackner.

Consists of four plays and a fragment of a prose piece. The play, Breath, was first performed at the Oxford Playhouse in March 1970. The text of this play has been woven onto a sweater by Astrid Furnival, commissioned by the Sackner Archive for "The Beauty In Breathing" exhibition 1992. -- Source of annotation: Marvin or Ruth Sackner.

This catalog was printed at The Stinehour Press in Vermont and was given to the Sackners on the occasion of the Stinehours' visit to the Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book is "an introduction to happenings, kinectic environments, and other mixed-media performances." Nine members of the 1960's avant garde discuss their works with Kostelanetz in the new theatre forms, including John Cage, Robert Rauschenberg, Allan Kaprow, Claes Oldenberg and La Monte Young. Richard Kostelanetz contributes two essays interpreting the new theatre in terms of its historical, social and aesthetic meaning. -- Source of annotation: Marvin or Ruth Sackner.

Tom Phillips illustrated this new edition of "Waiting for Godot," including a reproduction of his 1985 lithograph portrait of Samuel Beckett. Phillips writes in the Illustrator's Note that he made "from its almost total absence of visual clues the illustrations for the Folio Society edition...that spring from two conversations, one with Samuel Beckett, the other with the Folio Society' production director." -- Source of annotation: Marvin or Ruth Sackner.