The photographer who did the cover is not adequately identified [d. (triangle)] -- Source of annotation: Marvin or Ruth Sackner.

This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is printed in two columns on a gray background of a William Blake Christian religious scene and overlaid with mandulas of a Kabbalistic Hebrew text written by Abraham Abulafia in the 13th century. -- Source of annotation: Marvin or Ruth Sackner.

Jod is an Albanian word for iodine. It was done in response to the exodus of Jews and Greeks from Albania. The word Jod is a play on the word Yod but mainly Hirschman states that he is experimenting with alphabetical and numerical forms related to the Kabbalah and thinking of Wally Berman. -- Source of annotation: Marvin or Ruth Sackner.

Slipcase has triangular shape; book object opens to a winged shape. -- Source of annotation: Marvin or Ruth Sackner.

Hirschman contributes a long critical essay on Mallarme's "Un Coup de Des" and its relationship to Pierre Boulez's "Third Piano Sonata." Hirschman points out that the study of "Un Coup de Des" inspired him to write "Interchange" about Los Angeles in which the pages can be interchanged. -- Source of annotation: Marvin or Ruth Sackner.

Mentions that Curtay ought to contact Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

In his introduction ot this volume, Jack Hirschman writes, "Celan, as is somewhat known, especially in his later books of poems, writes in last-breaths, but with a zimzummed contraction that allows a line of light emerging from the holocaustic and therefore deepest silence of our epoch to touch our forked existences like a wand of witness that sounds our depths. As every day more and more of us are being driven to those voids and abysses in a 'free' world growing into a vast prison, it is hoped that Paul's words, the revolutionary enemy of triviality and indifference, fill your eyes with their millions of voices." The graphic drawings are by David Meltzer. -- Source of annotation: Marvin or Ruth Sackner.

The title is a double entendre, viz., Limerick and America. The poems are limericks written in a phonetic alphabet to evoke a kind of American Zaum. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book were written 1972-1973. The cover illustration was done by Soheyl Dahi. -- Source of annotation: Marvin or Ruth Sackner.

Each page has a handwritten, brief poem in black, blue, red, or yellow colored ink. Although the poems were all written by Hirschman, he attributes the poems to his family, e.g., Ruth, David, and Celia. -- Source of annotation: Marvin or Ruth Sackner.

This drawing depicts the Hebrew letter 'daleth' in silver paint and 'mem' in black ink wash with deliberate spattering of the paint. -- Source of annotation: Marvin or Ruth Sackner.

The theme is the American May Day. The book was done to remind readers that this holiday began as an American celebration not a Soviet event. -- Source of annotation: Marvin or Ruth Sackner.