This is a re-edited book by Rachel Simkover from the original Something Else Press edited by Emmett Williams in 1967. -- Source of annotation: Marvin or Ruth Sackner.

The styrofoam objects on the cover have the appearance of two breasts. This second edition of this book object differs from every page ranging from subtle ornamentation, typeface, layout or content. -- Source of annotation: Marvin or Ruth Sackner.

In addition to a theater review, this issue includes reprinted examples of concrete poems from Material, a periodical edited by Daniel Spoerri. -- Source of annotation: Marvin or Ruth Sackner.

This is a brief survey of German language speaking concrete poetic works. -- Source of annotation: Marvin or Ruth Sackner.

This book was based upon proceedings of 17th annual workshop sponored by the Department of German at the University of Wisconsin-Madison. Reinhold Grimm wrote a detailed, historical, illustrated essay on emblem, concrete and shaped poetry titled, "Poems and/as Pictures: A Quick Look at Two and a Half Millennia of Ongoing Aesthetic Intercourse." Sixty five examples of such poems are depicted. Grimm provides several shaped poems by different authors from George Herbert to Eugen Gomringer on "meditative wings." A shaped poem by an anonymous author entiltled "Cube" (1710) is printed in German and Yiddish (Figure 29). ee cummings' poem "Grasshopper" (1935) is reprinted (Figure 32). Includes three erotic shaped poems by Reinhold Aman, editor of the magazine, Maledicta (Figures 62-64). -- Source of annotation: Marvin or Ruth Sackner.

Foreword for this anthology involving permutations of groups of four words, sentences &/or images was contributed by Pierre Garnier. The afterword was done by Dieter Mahlow. The 70 Roman numeral designated books were distributed to the artists (Sackner copy); the remaining 80 numbered copies were offered for sale. -- Source of annotation: Marvin or Ruth Sackner.

One long poem has the phrase in German, "strings always in that remains" repeated in a long vertical column about 100 times. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the second poster without an image in the catalogue by Bremer and is therefore is designated No.159a. The edges around the image are damaged. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the third poster without an image in the catalogue by Bremer and is therefore is designated No.159b. The image depicted in the poster is a dove. -- Source of annotation: Marvin or Ruth Sackner.

This print was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. The Sackner Archive also holds a signed photograph by Bremer of a similar image, i.e., two military tanks depicted as shaped poems. -- Source of annotation: Marvin or Ruth Sackner.

This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the print was not depicted in the catalogue and the page reference is to Bremer's biography. This is the fourth poster without an image in the catalogue by Bremer and is therefore is designated No.159c. -- Source of annotation: Marvin or Ruth Sackner.

The author does a critical tabular and diagrammatic analysis of selected concrete poems by Gomringer, Jandl, Dohl, Thomkins, Hesse, Bremer, and Schauffelen. -- Source of annotation: Marvin or Ruth Sackner.

Bremer indicated that his inspiration to write constellations and ideograms came after seeing Pablo Picasso texts at Vallauris. Further, a poem constitutes most of the letter. -- Source of annotation: Marvin or Ruth Sackner.

This book is a text for middle school students. -- Source of annotation: Marvin or Ruth Sackner.