Scope and Contents Hirschman's book is a homage to Sarah Kali accompanied by Gypsy glifs. According to Wikipedia, Saint Sarah is a patron saint venerated by the Roma (Gypsy) people. She is also known as Sara-la-Kali (Sara the black). The center of her cult is Saintes-Maries-de-la-Mer, a place of pilgrimage for Roma in the Camargue, in southern France, where legend identifies her as the servant of the two saints Mary commemorated in the town. An alternative legend has her as a pagan of noble birth and being converted to the faith of Abraham. In the traditional account, Saint Sarah was a native of Upper Egypt; after the Crucifixion of Jesus, Mary Salome, Mary Jacobe, and Mary Magdalene were cast adrift in a boat that arrived off the coast of what is now France "a sort of fortress named Oppdium-Ra", and the location was known as Notre-Dam-de-Ratis (Ra becoming Ratis, or boat); the name being changed to Notre-Dame-del-la-Mer, and then Le Saintes-Maries-de-la-Mer in 1838. Some say that the boat arrived in...

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The black and white photograph by Wallace Berman on the cover depicts a frontal view of a man or mannikin with the face completely obscured by smoke. -- Source of annotation: Marvin or Ruth Sackner.

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The black and white photograph by Wallace Berman on the cover depicts a frontal view of a man or mannikin with the face completely obscured by smoke. -- Source of annotation: Marvin or Ruth Sackner.

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The book consists of eight poems translated by Hirschman as well as an intoductory essay about Heidegger philosophy. The cover was designed by Agneta Falk. -- Source of annotation: Marvin or Ruth Sackner.

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Written in homage to a dead friend, Emil de Antonio, an avant garde film maker who was also a press agent for Stella and Warhol in their early days. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of an identical book object entitled "Radiant Children" placed inside "In The Dream Flash." The poetryis based upon a child-like dream. -- Source of annotation: Marvin or Ruth Sackner.

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The title os from a poem by Robert Louis Stevenson, "The Shadow," which the author's mother recited to him when he was a child. He states it was the earliest phrase that he associated with the "hypnotic sound" of poetry. -- Source of annotation: Marvin or Ruth Sackner.

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The title is from a poem by Robert Louis Stevenson, "The Shadow", which the author's mother recited to him when he was a child. He states it was the earliest phrase that he associated with the "hypnotic sound" of poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This work was planned for publication in 200 copies in a handwritten version. This version of the poem was never published but a modified manuscript version led to publication in a typeset version by Zora Gallery in 1964. This book written in the style of Mallarme's "Un Coup De Des," and entitled Interchange for John Cage is also held by the Sackner Archive. The word 'frammis" present in this poem is a slang word for a technical term unknown to the reader, e.g., its synonym "what you may call it." -- Source of annotation: Marvin or Ruth Sackner.

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This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

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This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The first 22 copies were signed by Hirschman; this copy is signed and inscribed but is out of series. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

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This story is about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. One typed manuscript has the layout but not the typographic appearance of the published work. The other two that are handwritten provide that appearance. The basis for the writing of this work is discussed by Hirschman in Kulchur No.14, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The structure is suggestive of a library of a prison; the background calligraphic markings resemble Canaanite language. The poem is about liberty. -- Source of annotation: Marvin or Ruth Sackner.

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The structure is suggestive of a library of a prison; the background calligraphic markings resemble Canaanite language. The poem is about liberty. -- Source of annotation: Marvin or Ruth Sackner.

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This work is also designated a Pickpocket Series #2. -- Source of annotation: Marvin or Ruth Sackner.

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The title is derived from a line by Antonin Artaud. Hirschman states "This book focuses on gesture of line, color, and letters. There's a poem and then there's not a poem in this book. The words are crossed through by the paint, and vice-versa - intentionally to reflect the jangling about of sensibility during this time." (Gulf War) -- Source of annotation: Marvin or Ruth Sackner.

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This is a Mayan influenced bookwork with the poetry incorporated within the outlines of the Mayan hieroglyphics. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is written within the shapes of Hebrew letters. -- Source of annotation: Marvin or Ruth Sackner.