The image consists of a single word, Pornography, drawn in paint in the center of the paper almost as one would might expect in an illuminated manuscript. Dripping down from this word is a layer of muted powdered graphite that serves as a metaphorical contrast of the beauty of the written word and the intent of its meaning. -- Source of annotation: Marvin or Ruth Sackner.

In Daniels' book, "The Gates of Paradise," this poem is printed on page 43. The shape of the poem is a dragonfly viewed from above and this mentioned in the concluding phrase, "Stars shine bright on shatter light fate twitch wings finning out inner atmosphere character. Thee.The. That's go with the flow of the delicate Herakleition transparent inner stratasphere dragonfly light wings, folks." The dragonfly's body consists of rhyming nonsense words. -- Source of annotation: Marvin or Ruth Sackner.

The shape of this poem is a bow and arrow. -- Source of annotation: Marvin or Ruth Sackner.

Essay about home in Yorkshire of archivist and Finlay dealer, Greville Worthington. -- Source of annotation: Marvin or Ruth Sackner.

Bayard dedicated the book, which developed from her doctoral thesis, to Ruth and Marvin Sackner. In the acknowledgments she states, "I would like to express my gratitude ...especially to Marvin Sackner for generously granting me unlimited access to his marvellous collection of concrete and post-modern artefacts. Without such direct, visual, and hands-on contact with concrete and deconstructed items, I would have known them only abstractly."Bayard's book is heavily oriented to criticism and theory of concrete poetry with particular attention to the work of bp Nichol. -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of an article on the contemporaneous state of concrete poetry in the UK. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this poem deals with Zen and an afterlife place whose description was inspired by the Tibetan book of the Dead. The poem has five parts; the first two which were published in 1965 have been extensively revised and three parts added. The latter are bound upside down. Three drawings are reproduced in the book. The cover, a watercolor by levy, has a darker, more developed structure than the other copy of this book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poems are usually printed two to a page with square dimensions. The poems appear to differ from those published in the book titled "Number Poems" by Collective Effort Press in 2000. -- Source of annotation: Marvin or Ruth Sackner.

The poems are printed two to a page and usually with square dimensions. -- Source of annotation: Marvin or Ruth Sackner.

This is the finished drawing for the printed Christmas card with the same title. It was partially typed and then Smith drew over the typed characters in blue ink. -- Source of annotation: Marvin or Ruth Sackner.

This is a preliminary drawing for the printed Christmas card with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This is a preliminary drawing for the printed Christmas card with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This is the printed Christmas card (1957) sent to William Jay Smith's friends. -- Source of annotation: Marvin or Ruth Sackner.

Listings on the pages are taken from the names, port registration letters, and code numbers of Olsen's Fisherman Nautical Almanack. The spelling of Olsen with an "e" rather than with an "o" as in the name of the American poet is deliberate. Olson drew much of his poetic material from Boston fisheries. Images in this book on pages facing the listings are photographs of fishing boats. According to Finlay (flyer), this juxtaposition is a "found collage" in the style of Schwitters. -- Source of annotation: Marvin or Ruth Sackner.

The poem is set in short phrases on the vertical axis of tightly, rolled scroll with occasional diagonally printed phrases of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

In Daniels' book, "The Gates of Paradise," this poem is printed on page 8. The shape is that of the lower half of a New York man's body peeing on the sidewalk. The last word of the title together with the urinary stream documents this shape, "New Yorkers Pissing on the Sidewalk." -- Source of annotation: Marvin or Ruth Sackner.

The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

The poems are triangular shaped. -- Source of annotation: Marvin or Ruth Sackner.