Scope and Contents

The back cover is a letter to Paul Vangelisti. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is a semi-autobiographical novel dealing with romance, self revelation, and poets and writers in her life while she lived in San Francisco bay area as expressed with "tour de force" experimental typography and layout. Drucker purchased a variety of cold typefaces for letterpress printing and set out to use the entire set in writing this book. As a reviewer writes, "Linguistic architecture in the personal voice as manifest in particular elements of vigorous typographic representation." In a personal communication to the Sackners, Drucker stated that 100 copies were intended but only 96 were actually collated.The following explanation of the book as copied from a 10 typed page letter, dated January 1979, addressed to Mr Groenendijk, a collector living in Amsterdam, is reproduced below. This letter is held by the Sackner Archive - the Sackners sent a copy to Johanna Drucker after a personal communication revealed that she did not have a copy in her possession.I did this book...

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was critically reviewed by Marjorie Perloff in Harvard Library Bulletin Vol.3 No.2, 1992, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Drucker comments in her catalogue from the exhibition at Printed Matter that this was written in her Punk Phase. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Drucker writes that this "book is about the constraints and limits of language as a system (within the rules of grammar and syntax and orthography). Drucker uses a single font of type in the center section of each page and a second text printed from polymer plates on the top and bottom of the letterpress print font section. This second text is printed in red and becomes increasingly larger on each page. It "addresses the history of writing as technology, mythology, and cultural form." The title refers to the foundry label on new type that advises the printer to proof the font before setting it. Fifty copies were given to friends and 40 were sold to the public. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In the colophon, Drucker acknowleges the financial support of Ruth and Marvin Sackner. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

First published by Grove Press in 1968, this edition was typeset and printed by Johanna Drucker. On several pages, light blue markings are printed under the text as a sort of abstracted female genitalia area. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The typography becomes more complex and varied as the story unfolds and is reminiscent of the early typography of Iliazd. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of commentary on each page of the completed book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The typography and spatial arrangement of text is highly experimental. -- Source of annotation: Marvin or Ruth Sackner.