Letter concerns work by D. Harris which appeared in "Approches" No.3. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns b. bissett's return of J. Bory posters. -- Source of annotation: Marvin or Ruth Sackner.

The letter deals with a manuscript submitted for publication to david w harris entitled, "The Incense Box" that apparently remained unpublished. -- Source of annotation: Marvin or Ruth Sackner.

DeCampos provides a brief discussion of his first meeting with Gomringer in his first communication with Houedard. He thanks Houedard for sending him typogrammes..."very interesting as studies of form though I personally prefer always to use the semantical element." States that both Gomringer and his group began from the same starting point, i.e., Mallarme's the throw of the dice, "the threshold of new poetry." -- Source of annotation: Marvin or Ruth Sackner.

DeCampos responds to a classification system proposed by Houedard by pointing out "visual organization of words, with an overemphasis on relations of proximity and resemblance between them, leads ineluctably to an equivalent overemphasis on sound, implying a dynamical use of paronomasia and alliteration that explains why Brazilian young musicians have been so much interested in many of our seeming eyepoems, and in the making of oral presentations for them." He states he wrote to Hugh Kennerabout Ezra Pound and received a sympathetic response. -- Source of annotation: Marvin or Ruth Sackner.

Requests purchase of Lucie-Smith's "Sand Poem". -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns annual birthday greetings, Bell's activities in Oakland and his plans to organize an E. Williams exhibition in California. -- Source of annotation: Marvin or Ruth Sackner.

Claire comments on Willliams' "Anthology of Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

Merton acknowledges Emmett Williams' poem "Red Chair" in Monk's Pond. He requests permission to publish two of his poems that appeared in Art International as well as Pignatari's "Cloaca." Mentions that Bob Lax visited him and that he's doing good new stuff. The letterhead is Abbey of Gethsemani. Merton thanks Emmett Williams for his contribution of "The Red Chair" that he will publish in Monk's Pond II. He indicates that the first issue has some fine Zen stuff and is going to press with help from Jonathan Williams. He compliments Williams on his Concrete Poetry Anthology and asks to be placed on the Something Else Press mailing list. -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Monks Pond. Merton writes Emmett Williams that "All the things you are making happen sound good. Or helping make happen. Yes, visual poetry. I'd like to see that exhibit in Minneapolis. When will it be?" He continues, "I'm starting on some visual stuff. Hasn't loosened up yet but I think it will start to break soon. If only we had some more type here and the monastery printer had more time we could really do something about it." In a postscript, Merton adds a handwritten request, "Could I see a copy of the Bense reader? Looks interesting. Also the MacLow stanzas, as I am doing some, that - & Dieter Rot. Your catalog is very good. Only interesting one I've seen in a long time. -- Source of annotation: Marvin or Ruth Sackner.

The letterhead is Abbey of Gethsemani. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Cook is pleased that Gomringer is interested in his work and sends photocopies of concrete poems he wrote for children. He provides titles for these letter pictures which appear in his book "Concrete Poems," held by the Sackner Archive. -- 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.

Haroldo De Campos writes that he has just finished his concrete poems for the collection "koncrete poesie/poesia concreta" and is sending them to Gomringer. These poems were never published and were acquired in manuscript form by the Sackner Archive directly from Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

The da levy poem is also on the back cover of Tlaloc 13, a periodical alao held by the Sackner Archive. This letter is stored in a da levy binder. -- Source of annotation: Marvin or Ruth Sackner.

Gomringer asks de Campos for a contribution to his konkrete poesie series of books and provides the particulars. Subsequently, de Campos submits a manuscript that was not published because Gomringer ceased publication of this anthology. The typed manuscript of de Campos was acquired from Gomringer by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Gomringer states he has received De Campos' anthology and found it very complete and rich. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns sending works by J. Blaine and photographs of H. Sohm to H. Chopin. -- Source of annotation: Marvin or Ruth Sackner.