Twenty-one verses of Cinema Calendar of the Abstract Heart and the poem Houses, are translated in the pamphlet by Caws. The book is a reprint on the 1921 version in which Hans Arp contributed 19 woodcuts that are reproduced in this edition. -- Source of annotation: Marvin or Ruth Sackner.

This proof copy with justified margins and paragraph signs rather than indents or spaces was designed by Richard Eckersley. Mary Ann Caws writes in the introduction that among the writings of Breton, this work is the most philosophical and political; the whole edifice of Surrealism is based on its theories. Breton attempts to establish a communicating vessel or "conduction wire between the far to distant wirlds if waking and sleep, exterior and interior reality, reason and madness, the assurance of knowledge and of love, of life for life and the revolution." -- Source of annotation: Marvin or Ruth Sackner.

Includes a reprint of Desnos and Ray's manuscript scenario for the film, L'Etoile de mer. -- Source of annotation: Marvin or Ruth Sackner.

Includes a biography of Emily Hennings. -- Source of annotation: Marvin or Ruth Sackner.

Includes Peter Mayer's classification of concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Caws thanks Curtay for sending her his book La Poesie Lettriste. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheet is an errata sheet. Caws reprints Mallarme's Un Coup de Des in English translation. Tom Phillips' manifesto deals with the nature of postcards. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was carried out in conjunction with the Bibliotheque Litteraire Jacques Doucet in Paris. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a collection of critical essays previously published in academic periodicals. Her chapter, "Edging and Hedging" analyzes concrete poems by Lora-Totino (Spazio), Ulrichs (Eros), Gomringer (Silenzio), and Finlay ( The Wartime Garden). Caws analyzes the varient works of concrete poetry by the Frenchmen Lionel Ray and Edmond Jabes that she designates optical poetry as related to reading of the poems not to their optical imagery as in the typings of Dom Sylvester Houedard. -- Source of annotation: Marvin or Ruth Sackner.

Caws "emphasizes the thematic continuity rather than the theoretical differences between Surrealism & Dada" & the five major poets of the movements. -- Source of annotation: Marvin or Ruth Sackner.