This is the second revised edition that includes the proceedings of a symposium in which the Sackners took part. Timothy Eaton curated this comprehensive exhibition of book art and in the preface acknowledges the Sackner Archive as "the premier contributors with the loan of fifty works..." -- Source of annotation: Marvin or Ruth Sackner.

This is the third edition of the catalog. -- Source of annotation: Marvin or Ruth Sackner.

Each leaf is a separate drawing. -- Source of annotation: Marvin or Ruth Sackner.

Each leaf is a separate drawing. -- Source of annotation: Marvin or Ruth Sackner.

Every page and the cover have a central background of white paint overlaid with collage elements, paint and writings. An ink border has been drawn on every page suggesting that the collages were made separately and then assembled as a book. -- Source of annotation: Marvin or Ruth Sackner.

Two sections of the book have several pages pasted together that create a base for two collages. -- Source of annotation: Marvin or Ruth Sackner.

The pages are constructed of pages of newspapers over which a rounded, grid of white paper has been pasted. The pages when turned, sound crunchy and have a textured feeling that adds to the book's appeal. -- Source of annotation: Marvin or Ruth Sackner.

Some of the images of the collages are erotic in content. The loose sheets consist of a title page and an index. -- Source of annotation: Marvin or Ruth Sackner.

This suite of drawings depict Tarot card images in visual poetic terms. Two of the drawings provide brief handwritten explanations for each of the images. The remaining 22 drawings depict the individual cards. All drawings have white thick paint background on paper. They were framed and matted by Caruso and housed in a wooden box that has been painted and collaged on three of its sides. Photographic reproductions of the drawings are found in "Le Brache di Gutenberg: cronica n.s. 30, 1994," a periodical also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The title translated into English means, The Circle of Demoniacal Recollections. The book has an appearance of an ancient one owing to the vellum binding with leather thongs. Caruso has used white paint for the written text making its reading difficult. There is a round perforation through all the pages, 7 cm in diameter, that exposes a crystal stone collaged onto the inside back cover. Several styles of calligraphy on the pages have been employed by Caruso. -- Source of annotation: Marvin or Ruth Sackner.

The content of this book is almost wholly calligraphic. -- Source of annotation: Marvin or Ruth Sackner.

The book is written in a free, experimental, calligraphic style. -- Source of annotation: Marvin or Ruth Sackner.

Several pages are glued together to form two thick pages. -- Source of annotation: Marvin or Ruth Sackner.

This book wholly consists of calligraphic text in several styles. The utilization of heavily built-up paint on the one hand and sparkles on the other to form letters of the words is unusual in artist books genre. The words are written onto tissue paper of pink, green, purple, red and blue colored stock. -- Source of annotation: Marvin or Ruth Sackner.