The edition consisted of 224 soft cover and 26 hard cover books. -- Source of annotation: Marvin or Ruth Sackner.

This is the first edition. In an author's afterward, Foer writes that he used the text of Bruno Schultz''s book "The Street of Crocodiles" to create this "imagined larger book, this ultimate book, that every word ever written, spoken or thought is exhumed." Bruno Schultz was killed by the Nazis and only two volumns of his writing survive. The artist Olafur Eliason writes that Tree of Codes is "an extraordinary journey that activates the layers of time and space involved in the handling of a book and its heap of words." Foer creates a new poetic text mined from the original novel. -- Source of annotation: Marvin or Ruth Sackner.

This is the second edition. In an author's afterward, Foer writes that he used the text of Bruno Schultz's book "The Street of Crocodiles" to create this "imagined larger book, this ultimate book, that every word ever written, spoken or thought is exhumed." Bruno Schultz was killed by the Nazis and only two volumns of his writing survive. The artist Olafur Eliason writes that Tree of Codes is "an extraordinary journey that activates the layers of time and space involved in the handling of a book and its heap of words." Foer creates a new poetic text mined from the original novel. -- Source of annotation: Marvin or Ruth Sackner.

Inscribed by Bob Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

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

Edited by William Xerra. Issues No.5-8 are packed within same box. -- Source of annotation: Marvin or Ruth Sackner.

Edited by William Xerra. The colophon states the year of publication as 1984 but this might be 1985 to maintain the sequence of the issue numbering. -- Source of annotation: Marvin or Ruth Sackner.

Edited by William Xerra. The colophon states the year of publication as 1984 but this might be 1985 to maintain the sequence of the issue numbering. -- Source of annotation: Marvin or Ruth Sackner.

The photograph depicts a text by Bennett that Helmes overprinted with four rectangular shapes enclosing abstract markings. -- Source of annotation: Marvin or Ruth Sackner.

This profusely illustrated book focuses for the most part on works of contemporary Swiss typographers and graphic designers along with material produced by Swiss and German graphic design students. It serves as a good reference for cutting edge typography and graphic design done in Switzerland since WWII. -- Source of annotation: Marvin or Ruth Sackner.

The poem reads, "a nine muse world beyond the portico of legends - beyond the library - rest n a rock - beyond the music of a blossoming horse." The border of the page consists of rows of colored book spines. -- Source of annotation: Marvin or Ruth Sackner.

The poem reads, "A son like myself - of a Greek engineer - only the word pictures the word - plied words slipped - into his heart like surprise and pleasure. The background depicts colored wave-like forms. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [raises]". Identifying label calls the piece "a sun like myself." Added: CEND.

The poem reads, "244 raises. How do I know that? By a very simple test - I know it by its fruits. And what may its fruits be? They are the glittering beings. - art of departure over the pages and waves - So back to to his ocean - to the helm to the rising and falling, turning and returning, appointed courses, of man." A stylized, line drawing of a man is present in the background. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [a son like myself" Added: CEND.

The poem reads, "rock music sing, enchant the ear - one hell of a noate in his ear - art of drinking - toge and bloom come together - the dissipation expedition." The border of the page consists of musical staves. -- Source of annotation: Marvin or Ruth Sackner. Housed with "Ulysses [a nine muse world]," 2000. Added: CEND

A portion of the inked Syriaque letters are overpainted in white that either obliterates some letters or covers them in a veil of paint. In addition, fine red lines are painted across the entire surface in patterns of triangles, horizontal lines or parallel arcs. This work has a freer sensibility than earlier drawings by Moreau held in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.