This greeting consists of the title printed in a highly stylized, yellow colored, calligraphic text on a blue background. -- Source of annotation: Marvin or Ruth Sackner.

The book depicts black and white photographs of fingers and thumbs from different individuals on each page that increase in number as the story progresses. Each digit engages in brief conversations about voyeurism. -- Source of annotation: Marvin or Ruth Sackner.

The book depicts black and white photographs of fingers and thumbs from different individuals on each page that increase in number as the story progresses. Each digit engages in brief conversations about voyeurism. -- Source of annotation: Marvin or Ruth Sackner.

The book depicts black and white photographs of fingers and thumbs from different individuals on each page that increase in number as the story progresses. Each digit engages in brief conversations about voyeurism. -- Source of annotation: Marvin or Ruth Sackner.

This copy is from the unsigned edition = 50 copies were signed and numbered. Works by Emmett Williams depicted in this catalogue that are also held by the Sackner Archive include Alphabet Square (1956/83), she loves me from Mayer's concrete poetry, britain, canada united states, An Opera(1960/1987), Mat Mot No.6 (1965), Shakespeares XXC TH (1979), and La Dernier Pomme Frite (1989). -- Source of annotation: Marvin or Ruth Sackner.

This copy was especially signed for the Sackners on their birthdays. -- Source of annotation: Marvin or Ruth Sackner.

Jurgen Olbrich served as a juror for this exhibition that was a competition for copy-art. -- Source of annotation: Marvin or Ruth Sackner.

Max Bense contributed a two page critical essay. Each page depicts a single poem. -- Source of annotation: Marvin or Ruth Sackner.

This was an exhibition of Ranier Verlag's publications 1966-1989. -- Source of annotation: Marvin or Ruth Sackner.

Curated by Wendy Woon. Nancy Tousley contributed an essay tracing the history of artists' books in Canada and the United States. Felipe Ehrenberg's essay describes his work as a book artist in England and Mexico. -- Source of annotation: Marvin or Ruth Sackner.

This article was reprinted from Word & Image Interactions 2, edited by Heusser, Cluver, Hoek and Weingarden. -- Source of annotation: Marvin or Ruth Sackner.

The letter deals with Engel's poem OH. -- Source of annotation: Marvin or Ruth Sackner.

This letter that is written to Emmett Williams mentions enclosure of "A Logic of Clouds" number 1 - 5 expects Williams opinion. -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Monks Pond. Merton writes Emmett Williams that "All the things you are making happen sound good. Or helping make happen. Yes, visual poetry. I'd like to see that exhibit in Minneapolis. When will it be?" He continues, "I'm starting on some visual stuff. Hasn't loosened up yet but I think it will start to break soon. If only we had some more type here and the monastery printer had more time we could really do something about it." In a postscript, Merton adds a handwritten request, "Could I see a copy of the Bense reader? Looks interesting. Also the MacLow stanzas, as I am doing some, that - & Dieter Rot. Your catalog is very good. Only interesting one I've seen in a long time. -- Source of annotation: Marvin or Ruth Sackner.