Stein's text was originally published in 1935. Goldsmith used the 1985 Beacon Press text to contribute two pages of punctuation marks alone from the text. -- Source of annotation: Marvin or Ruth Sackner.

Accompanies print portfolio with same title. -- Source of annotation: Marvin or Ruth Sackner.

Kate Rawlinson, Director of Galleries, acknowledges the "aesthetic insight and generous assistance in bringing this exhibition together." Marvin Sackner contributed an essay describing his relationship as a collector to the artist and his work. Sackner also coins the term Rap Concrete Poetry to describe the work in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Dworkin & Goldsmith provide a 54 page introduction in Roman numerals that is not included in the text count. -- Source of annotation: Marvin or Ruth Sackner.

This is an example of Goldsmith's "Concrete-Rap" poetry. -- Source of annotation: Marvin or Ruth Sackner.

This is an example of Goldsmith's "Concrete-Rap" poetry. -- Source of annotation: Marvin or Ruth Sackner.

This book is the printed version of Goldsmith's retyping of one day of The New York Times. Goldsmith writes, "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page...When I reach 40, I hope to have cleaned myself of all creativity." -- Source of annotation: Marvin or Ruth Sackner.

Letter of thanks for a weekend trip to the Archive to deliver "Litany [for Abbie] (Steal This Book)." Includes photograph of Goldsmith, Donagan, and the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

Goldsmith recorded every movement his body made on June 16, 1997 from 10 AM to 11PM without using the word "I." He attempted to reduce the body to a catalogue of mechanical movements by a strict act of observation. The list of words continue until the final chapter where they morph backwards (mirror writing in print), The text is also on the WEB with a Java applet version and was performed. Marjorie Perloff contributed an incisive afterward, "Vocable Scriptsigns" that explains the work. The book was edited and designed by Darren Wershler-Henry. -- Source of annotation: Marvin or Ruth Sackner.

Goldsmith provides a numbered list of a line from a popular song but altered with a malapropism, one nation under guard, invisible and play that funky music eyeball, etc. -- Source of annotation: Marvin or Ruth Sackner.

Kenny Goldsmith provided a punctuation poem on the inside back cover. -- Source of annotation: Marvin or Ruth Sackner.

This book is the prospectus for the paperback edition of Soliloquy, a book that recorded every word spoken by Goldsmith in a week. The Sackner Archive is cited. -- Source of annotation: Marvin or Ruth Sackner.

Includes several statements concerning visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

The shape of the poem is in the form of a silhouetted suit with Goldsmith's head depicted by the title of the poem. -- Source of annotation: Marvin or Ruth Sackner.