Williams writes in his forward, "The fables - on the right-hand pages of the book - came first. Only gradually, after several exhibitions of these far-fetched fictions, did I come to realize that there was at least an iota, a jot or a tittle of truth - and sometimes a big blob of reality - in each and everyone one of them. And here, for the first time, the documentation appears opposite the collages themselves...on the left hand pages, opposite each of the cartoons, are enlightening documents from the author's personal archive relating some of the unlikely things that really happened in Performance Art 'show biz' over the years." -- Source of annotation: Marvin or Ruth Sackner.

Peter Moore's photograph appears on the cover. -- Source of annotation: Marvin or Ruth Sackner.

The verso of the card is Steen's offset poem "the poem begins here." The message from Steen to Williams deals with the time of arrival in New York from a Copenhagen flight. -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Abbey of Gethsemani. The card reads, "Dear Emmett: Here are a few loose sheets from MPond (Monks Pond) which will show which concretes I took from author - & 'embellished.' Hope the magazine will be on its way soon." -- Source of annotation: Marvin or Ruth Sackner.

This card of December 10, 1968, eight days before Merton's death, was typed by Patrick Hart, secretary to Thomas Merton. He gives permission to Williams to use poems in a forthcoming anthology that was never published. -- Source of annotation: Marvin or Ruth Sackner.

The card is written on the verso of "sixty natural greens," a conceptual art piece. Nannucci asks Williams to make a contribution to his magazine, Mela. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Williams depicts chicken footprints as name-portraits or paintings of Dada artists. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Williams depicts chicken footprints as name-portraits or paintings of Dada artists. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Williams depicts chicken footprints as name-portraits or paintings of Dada artists. -- Source of annotation: Marvin or Ruth Sackner.

Mary Connors' interview of Emmett Williams is titled "Artist As Poet, Inventor and Cosmological Humorist." It describes his mode of creating his sequence works and his exhibition "Schemes and Variations-Serial Paintings, Lithographs and Drawings." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition catalogue describes the philosophy, attitudes, influences and purposes of Fluxus. It documents Fluxus editions, periodicals and bibliographic materials. Includes a chronology of Fluxus performances from 1962 to 1978. The exhibition was curated by Jon Hendricks. R.W, Smith: Massive exhibition of 683 works organized in three parts: Fluxus Editions & Related Works; Fluxus Periodicals and Documents, Related Publications and Bibliographic Material; and Fluxus Performance: Documentation of Events. Introduction by John Hendricks; A Complete History of Fluxus, Including Philosophy, Attitudes, Influences and Purposes (consisting of statements by Fluxus artists and Fluxus founder George Maciunas reproduced in facsimile); chronology of Fluxus Performance. -- 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.

The letter deals with Engel's poem OH. -- 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.

Merton requests contributions for his periodical, Monks Pond. Jonathan Williams passes the letter onto Emmett Williams with the notation that the above letter from Thomas Merton explains itself. -- Source of annotation: Marvin or Ruth Sackner.

This book recounts Williams' autobiography. -- Source of annotation: Marvin or Ruth Sackner.