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Taken from pete spence's Archive 1998. -- Source of annotation: Marvin or Ruth Sackner.

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According to Nelson Ball, 200 copies were printed but 120 copies were accidently destroyed. -- Source of annotation: Marvin or Ruth Sackner.

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This is Nichol's second book in which he prints wordplay mainly on the word "beware." The cover was designed by bill bissett. -- Source of annotation: Marvin or Ruth Sackner.

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The text is densely overprinted in different orientations on paper stock of various sizes, colors and thicknesses. Tibetan symbols are also overprinted on the text. This makes for a difficult read. The back cover is rubberstamped "distributed by Ganglia, 55 Admiral Road, Toronto Canada." -- Source of annotation: Marvin or Ruth Sackner.

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The small hand lettering on this collag reads 's i n g' from different angles. When held up to the light a second layer of writing can be seen. The top border is hand cut. The cancelled, red bordered stamps on the poem object commemorate the work of several product designers and are part of the conceptual work of sloy and nic. -- Source of annotation: Marvin or Ruth Sackner.

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This is also designated No.3 of the series "fonemi plastici 1967." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Wikipedia: Giovanni Acquaviva (1900-1971). He becmes Futurist in 1919 and begins a close association with Fortunato Belloni, for which illustrates some books, and using images drawn from some of Giacomo Balla [1] and in 1938 promoted to Savona group futurist Sant'Elia. His work is characterized by a typical sensitivity as incandescent and whooping as obsessed clarification and accuracy , be it in the pictures, it is in the processing of ceramics, be it in poetry. Along with Farfa is considered one of the greatest representatives of Futurism Savona and appears three times in the Venice Biennale, twice the Rome Quadrennial , and in numerous exhibitions in Italy and abroad. Among the most famous paintings remind Butterflies of 1966, a design of pastel on paper, colored ethereal and impalpable. A major retrospective was dedicated to him in 1987 by the city of Savona, where he lived for many years. Acquaviva also devoted himself to the manufacture of ceramics, graphics, and theater...

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This book consists solely of photographs documenting an installation within an abandoned house. The artist covered its internal walls with handwriting and rubberstampings. -- Source of annotation: Marvin or Ruth Sackner.

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This book deals with a spoof on getting a job. -- Source of annotation: Marvin or Ruth Sackner.

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The set contains one well-known concrete poem printed on a card of varied colored stock by each contributor. The loose sheet is a manifesto by Gomringer entitled "from line to constellation" which was first printed in Augenblick No.2. It has been translated into English by Mike Weaver. The set was presumably sold at the Brighton poetry festival. -- Source of annotation: Marvin or Ruth Sackner.

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This is the same photograph as the unmounted one but because of the image enlargement it does not have as much optical effects. -- Source of annotation: Marvin or Ruth Sackner.

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

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The prints show water damage in the lower part of the unprinted area but the images are intact. The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." -- Source of annotation: Marvin or Ruth Sackner.

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The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. The print image depicted here was scanned from the book by Williams, "Blues & Roots Rue & Bluets" (1971). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. -- Source of annotation: Marvin or Ruth Sackner.