The book was published as a tribute to the Wallace Berman retrospective at the University Museum in Berkeley. The poems by several contributors were written by Hiirschman and photocopied for this book. There are several photocopied drawings and collages scattered through the book, some photocopied colored for this deluxe edition. The cover design was adapted from a grid of four Verifax pieces done by Wallace Berman in 1964. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Pocket Poets Series No.55. Agnetta Falk contributed a calligraphic visual portrait rendering of Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

The interior box is a small box of Gerber's mixed baby cereal that serves as packing material and lends a feeling of a Fluxus presentation to this catalogue which has several Fluxus items on sale. -- Source of annotation: Marvin or Ruth Sackner.

Book is an homage to Samuel Beckett and refers to Beckett's "I can't go on. I'll go on." -- Source of annotation: Marvin or Ruth Sackner.

Images on inside of box painted on plastic foam are enlargements of graffiti observed by Hirschman on San Francisco subways. -- Source of annotation: Marvin or Ruth Sackner.

The handwritten marginalia in this magazine are printed within the texts. -- Source of annotation: Marvin or Ruth Sackner.

In a letter to the Sackners of September, 1989, Hirschman remarked, "Gutbucket is of course 30's sound for an earthy kind of jazz sound....[Mess Mezzrow] was a Russian Jewish musician. -- Source of annotation: Marvin or Ruth Sackner.

Hirschman writes in a letter to the Sackners that this is the first example of a Haikrostic, a poetic form of 24 or 25 syllables in contrast to the three line, 12 syllable haiku. Further, the first letters of every word add up to the name of someone. In this work, most of the haikrostics spell out the names of living and dead poets. -- Source of annotation: Marvin or Ruth Sackner.

This sculpture shaped like a harp is a homage to the writer Isaac B. Singer whom Hirschman knew personally. Hirschman in a letter to the Sackners stated "since its total shape is like a Futurist version of a Mayan glyph, I've used Mayan motifs throughout; you'll also notice Yiddish letters scattered here and there." This imagery is not far fetched since an Englishman named Kingborough in the 19th century wrote two volumes to prove that Mayans were one of the 10 lost tribes, a theory unaccepted by most scholars. -- Source of annotation: Marvin or Ruth Sackner.

Poem is an acrostic of Celia Hirschman, the poet's daughter on her 31st birthday. Red colored tape is used in the collage to signify her work in the music video business. -- Source of annotation: Marvin or Ruth Sackner.

This drawing depicts eight, silver colored, Hebrew 'daleth's' arranged in a grid that are flanked by green ghostlike outlines of 'other daleth's.' -- Source of annotation: Marvin or Ruth Sackner.

Covers are detached and frayed butg contents are fine. -- Source of annotation: Marvin or Ruth Sackner.