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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.

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This printing of a Doctural thesis deals mainly with Swedish concrete poets, most notably Fahlstrom. Olsson visited the Sackner Archive in the early 2000s to scan material for this thesis. He is also one of the Co-Editors-In-Chief of Oei magazine. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Craig Morton Teicher Amazon.com: Charles Bernstein is not just a theorist of poetry but of language itself. The ideas guiding his creative work might be summarized, albeit reductively, like this: Words are meaningless in themselves, and find significance only when we agree upon a definition. Bernstein's poetry tends to draw attention to the slipperiness of words, and to reload them with new, and sometimes better, meanings. All the Whiskey in Heaven, his first book from a major publisher and required reading for poetry enthusiasts, selects from the dozens of works the author has written over the past 35 years. Don't look here for intensely felt personal recollections or anything referencing particular biography. Instead, you'll find verbal collages in many different forms. One of the foundational figures of the L=A=N=G=U=A=G=E movement, Bernstein likes to borrow from various sources"”political discourse, personal correspondence, mental-health literature and advertising"”and see what...

Scope and Contents This latest collection of essays, gathers some of Bernstein's most memorably irreverent work while addressing seriously and comprehensively the state of contemporary humanities, the teaching of unconventional forms, fresh approaches to translation, the histsory of language media, and the connections between poetry and visual art. Jay Sanders co-authored the chapter "Poetry Plastique: A Verbal Explosion in the Art Factory."Aptowicz on Amazon.com: "Charles Bernstein is a poet & poetry professor who may be best known by the younger generation of writers as the poet who hates National Poetry Month. His oft-blogged about essay, "Against National Poetry Month As Such" (which is included in "Attack of the Difficult Poems") makes the bold claim that National Poetry Month "is about making poetry safe for readers by promoting examples of the art at its most bland and its most morally 'positive' " and then smartly up-ends the NYTimes being listed as one of National Poetry Month's...

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This book is a compilation of reprints of O'Sullivan's publications. In "tonetreks," she has composed concrete, shaped and conventional poems to depict Monet's paintings, a Giacometti sculpture, and a Rothko painting. -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a visual piece by Bernadette Mayer entitled, "The Golden Book of Words." The works in this catalogue were in the collection of Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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The cover is a visual piece by Lewis Warsh and this catalogue consists of books from the library of this poet, novelist, editor and publisher. -- Source of annotation: Marvin or Ruth Sackner.

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The editor states that the 17 essays in this book are concerned with poetry readings, the sound of poetry and the visual performance of poetry. They "offer original and wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art." Johanna Drucker contributed a chapter titled "Visual Performances of the Poetic Text" in which she describes and illustrates several poems of early 20th century visual poetry movements including an in depth analysis of "Poesie de mots inconnus" by Iliazd, a book that is held by the Sackner Archive. A listing of audio resources and a bibliography are included. -- Source of annotation: Marvin or Ruth Sackner.

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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...

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The cabinet (artist box) was designed by Mark Foxman, the cover was designed by by David Horton and the typography was designed by Susan Quasha. The works are mostly photographic, non-verbal images. The editor, David Lee Strauss, on an interview, discusses how he wanted this issue to be concerned with the fourth dimension. However, except for Robert Bowen's photograph, "Flat Irony," a surrealistic image of the NYC Flat Iron Building floating in space Mark Jenkinson's night photograph of a Los Vegas scene, I did not find the rest of the contributions successful in this regard. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue provides a listing of current books in stock with annotations. -- Source of annotation: Marvin or Ruth Sackner.

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This book is biography, autobiography, literary criticism, history, reference, bibliography, fiction, non-fiction, anthology and case history. It is described as a "delicious, delightful labyrinth of alphabetically-arranged, mock-encyclopedia entries...which include generous selections of Federman's fiction, poetry, criticism, correspondence, and journal entries, dozens of photographs and documents, critical commentary, as well as a wide variety of other 'recycled' texts." The book contains a good deal of information on post-modernist fiction. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Charles Bernstein writes in the introductory essay that "Figuring the Word" is a wide-ranging collections of Drucker's essays in which she "presents herself as a visual artist, a literary writer, a scholar/historian, and an aesthetician. In all these areas, Drucker has made substantial contributions. But it is her synthesis of these fields that is her most extrardinary achievement." Chapters of collected essays in the book include Writing as Artifact, including a section on hypergraphy and Maurice Lemaitre; Visual Poetics; Artists' Books Past and Future; The Future of Writing; Personal Writing. In the section "The Interior Eye: Performing the Visual Text," Drucker traces visual poetry in the perfomance work of Massin & Ionesco's "The Bald Soprano," Tzara's "Boxe," Marinetti's "At Night," Iliazd "Lendentua as Beacon," and Gomringer's "Ping Pong" and other icons of visual poetry.In the section, "Iliazd and the Book as a Form of Art," Drucker discusses and/or illustrates the...