This is a collection of Nichol's comic strips and cartoons from 1960 to 1980. Nelson Ball, the bookseller comments "There is a serious error in this book in the titling of the final sequence which should be "The Lives & Loves of Captain George" and not "John Cannyside" as titled. The sequence is actually based on an interview of George Henderson, the proprietor of Memory Lane [book store and publisher] in Toronto. [Note: Most of the crossed through names on page 294 are pseudonyms used by Henderson for the pornographic novels he wrote, published in the USA by Knight Volumes, Target Novels, Lantern Books, Candlelight Books and Neva Paperbacks from 1964 to 1968]. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember. This is Cobbing's essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

Cobbing describes the history of contemporary sound poetry and the techniques utilized by the poets. He concludes "The very diversity of sound poetry is in line with its emphasis on the freedom of the individual and the withering of external authority, on man as a communal and social animal, on communication as a life-giving activity, things which in this bureaucratic and techncratic age we need constantly to remember." This is Cobbing's manuscript essay for the ground-breaking exhibition, "klankteksten ? konkrete poezie visuele tesksten - sound texts ? concrete poetry visual texts - akustiche texte ? konkrete poesie visuelle texte." -- Source of annotation: Marvin or Ruth Sackner.

The image was taken from a color photograph made by jw curry. The stamp sheet with a 50 cent face value for each stamp was designed by Steven Spazuk and Jean-Francois Renaud. It was issued as Picture Postage 10003995 on May 31, 2005. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive holds another copy of this book that is unsigned. -- Source of annotation: Marvin or Ruth Sackner.

Includes several essays on the historic beginnings of Canadian concrete, visual, and sound poetry. The Archive for the essay by jw curry, Defying Linear Deification... is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Also designated th wrecking ballzark #55. The image was drawn by bp Nichol in 1973. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Sticky Lights #4. This broadside is an announcement for a poetry reading by bp Nichol at Nicky Drumbolis' bookshop, Letters, on Nov. 22, 1984. The silkscreen print that is collaged onto the broadside is is a translation of Basho's "frog." -- Source of annotation: Marvin or Ruth Sackner.

Also designated th wrecking ballzark #64 and Hangnail #15. -- Source of annotation: Marvin or Ruth Sackner.

Also designated th wrecking ballzark #64 and Hangnail #15. -- Source of annotation: Marvin or Ruth Sackner.

This is the 2nd edition of the leaflet first published by Ganglia Press in 1970. -- Source of annotation: Marvin or Ruth Sackner.

David A is David Aylward. This card is also designated one cent #13 and is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The book is based upon two unique manuscripts shown to curry by bp Nichol c.1966. Some of the pages are folded into the shape of a sails. -- Source of annotation: Marvin or Ruth Sackner.

The poem is difficult to read because it is written in three dimensions but appears to state "flat feet." It is also listed as th wrecking balzark No.60 and One Cent Series No.134. -- Source of annotation: Marvin or Ruth Sackner.