Concrete poetry
Found in 6506 Collections and/or Records:
The Egyptian Stroboscope (2nd Printing) / levy, d.a. ; Wagner, D.r.., 1967
Most of the copies of the first printing were confiscated by the Cleveland Police in the notorious raid of Jim Lowell's book store in 1966. This second printing is "lightly revised." It differs from the first edition by most pages consist of white rather than colored paper stock with less overall pages but stilll a rarity. -- Source of annotation: Marvin or Ruth Sackner.
The Eiffel Tower, 1995
This is a reprint on different paper (Arches 88) of the same print from the sixties -- Source of annotation: Marvin or Ruth Sackner.
[The Eiffel Tower] / John Furnival., 1967
This is an extra copy of a poem object that also is included on Revue Ou No.30-31. -- Source of annotation: Marvin or Ruth Sackner.
[The Eiffel Tower] / John Furnival., 1967
This is an extra copy of a poem object that also is included on Revue Ou No.30-31. -- Source of annotation: Marvin or Ruth Sackner.
The Evolution Of English / curry, jw., 1979
From the top of this poem to the bottom, curry creates progressive disintegration of the hand printed "word" to the written "word" to illegible calligraphic markings to abstract markings. -- Source of annotation: Marvin or Ruth Sackner.
The Evolution Of English / curry, jw., 1981
This is the another version of this poem that was also written in 1979. Both versions are held by the Sackner Archive. In a vertical format, the word, "word" is first printed, then written, then scrawled, and finally rendered illegible as the handwriting progressively disintegrates. -- Source of annotation: Marvin or Ruth Sackner.
[The Evolution of Surprise] / Anonymous., 1970
These poems, which have ink markings and handwriting by Bob Cobbing, might have been used for publication or performance. They were written by an American, judging from the sentence and language structure and references are made to the Bronx and NYC. -- Source of annotation: Marvin or Ruth Sackner.
The Fabulous Book[CR]The Fabulous Book / Depew, Wally., 1975
The Fall of the Tower of Babel, 1995
This is a reprint on different paper (Arches 88) of the same print of the sixties. -- Source of annotation: Marvin or Ruth Sackner.
The Fantasy Childhood Reset / Jenkins, Philip., 1971
One of the poems in this book attempts to depict a Mark Rothko painting by means of typewriter poetry. -- Source of annotation: Marvin or Ruth Sackner.
The Fantasy Childhood Reset / Jenkins, Philip., 1971
One of the poems in this book attempts to depict a Mark Rothko painting by means of typewriter poetry. The loose sheets include a letter to Peter Finch, erratta in the book, and typed manifesto reproduced on the back cover. The author currently lives in Welshpool, Wales. -- Source of annotation: Marvin or Ruth Sackner.
The Fitzroy Poems, 1989
The poems for the most part are written in the Creole dialect of the Fitzroy region of Australia. Pi O's Christian name is Peter Oustabasides. -- Source of annotation: Marvin or Ruth Sackner.
The Flood 1st Editon / Martin, Stephen-Paul., 1987
The story is a modern day adaptation of Noah's flood of biblical times, with a political surrealistic comnentary on Ronald Reagan. This is the second revised edition first published in 1987 by Stephen-Paul Martin -- Source of annotation: Marvin or Ruth Sackner.
The Flood / Martin, Stephen-Paul ; Polkinhorn H ; Royal R., 1992
The story is a modern day adaptation of Noah's flood of biblical times, with a political surrealistic comnentary on Ronald Reagan. This is the second revised edition first published in 1987 by Stephen-Paul Martin -- Source of annotation: Marvin or Ruth Sackner.
The Fool Still Looking at the Same Thing [1] , 1988
The Fool Still Looking at the Same Thing [2] / Basmajian, Shaunt., 1988
This version of the poem has slight differences from the first version, -- Source of annotation: Marvin or Ruth Sackner.
The Game of Nowhere / Depew, Wally., 1980
The Game of the Poets / Depew, Wally., 1980
The Garden and the Revolution / Finlay, Ian Hamilton., 1992
The curators, J.B.Ravenal and A.Miller-Keller state that Finlay "engages classical forms and ideas as an ethical and philosophical means by which to bring present culture into sharper focus... The exhibition presents two central themes in Finlay's work: the garden tradition and the French Revolution." -- Source of annotation: Marvin or Ruth Sackner.