This poem is a homage to the death of Theodore Roethke (May25, 1908 - August 1, 1963) and was written by dsh one week after his death. Wikipedia: Roethke was an American poet who published several volumes of influential and critically acclaimed verse. He is widely regarded as among the most accomplished and influential poets of his generation. Roethke's work is characterized by its introspection, rhythm and natural imagery. He was awarded the Pulitzer Prize for poetry in 1954 for his book, The Waking, and he won the annual National Book Award for Poetry twice, in 1959 for Words for the Wind[2] and posthumously in 1965 for The Far Field.In the November 1968 edition of the Atlantic Monthly, former U.S. Poet Laurete and author James Dickey wrote Roethke was: "...in my opinion the greatest poet this country has yet produced." In keeping with Houedard's poem, Roethke's poems often related to nature. -- Source of annotation: Marvin or Ruth Sackner.

This issue is an excellent source of writings and images of particularly British concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This edition consisted of 50 tubes covered with recycled sticker material from different networkers in the 1980s and 1990s. -- Source of annotation: Marvin or Ruth Sackner.

This work was commissioned as a work of public art. The poems comprising this work were etched into a 20 foot long glass wall. Stored flat on top of a box in the B section of books. -- Source of annotation: Marvin or Ruth Sackner.

This work was commissioned as a work of public art. The poems comprising this work were etched into a 20 foot long glass wall. Stored flat on top of a box in the B section of books. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of handwritten instructions for a performance. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Kempton composed circular, computer made poems that are formed from letters. They are presented one on each page. -- Source of annotation: Marvin or Ruth Sackner.

This print depicts a page of the white pages of the New York telephone directory with a text over text concrete poem consisting of the name "Robinson." -- Source of annotation: Marvin or Ruth Sackner.

This print depicts a page of the white pages of the New York telephone directory with an embedded concrete poem consisting of the name "Cohen." -- Source of annotation: Marvin or Ruth Sackner.

This print accompanied an important exhibition of Maritime Works at the Tate St. Ives from March to June in 2002. The print reads in part, Rose Valley, Carra Rose, White Rose, all signifying ship names. It is signed on the card by the curator of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

This print accompanied an important exhibition of Maritime Works at the Tate St. Ives from March to June in 2002. The print reads in part Rose Bloom, Lothian Rose,Tudor Rose, all signifying names of ships. It is signed on the card by the curator of the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts the Italian word for red, "rosso," repetitively in a staggered grid on a red background. -- Source of annotation: Marvin or Ruth Sackner.

The typing depicts the Italian word for red, "rosso," in nine typed blocks. The Sackner Archive also holds a print of rosso on a red background in a repetitively staggered grid. -- Source of annotation: Marvin or Ruth Sackner.

The typing depicts the Italian word for red, "rosso," in the diagonal. The Sackner Archive also holds a print of rosso on a red background in a similar repetitively staggered grid. -- Source of annotation: Marvin or Ruth Sackner.

The typewriter poems are printed in blue ink, several combined with free form letters. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Max Bense and Elisabeth Walther. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Max Bense and Elisabeth Walther. -- Source of annotation: Marvin or Ruth Sackner.

This issue was edited by Max Bense. -- Source of annotation: Marvin or Ruth Sackner.