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Claus Cluver provides an introduction that describes the international Concrete Poetry movement. The program for exhibition, film, graphic art and musical performances is presented. -- Source of annotation: Marvin or Ruth Sackner.

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Includes first published English translation of Mallarme's Un Coup de Des by Daisy Aldan. The Sackner Archive also holds the separately issued hard cover book of Aldan's translation, the Cosmopolis version of 1897 and the 1914 version published after Mallarme's death. -- Source of annotation: Marvin or Ruth Sackner.

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The poem is printed on the inside of the several folded card, the larger brown card for sail, the smaller white card for sheep. -- Source of annotation: Marvin or Ruth Sackner.

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The final page contains the poem "Tvgrama" by Augusto de Campos. -- Source of annotation: Marvin or Ruth Sackner.

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A single word "FOLLY" is rubberstamped on the first page. With each subsequent page an additional rubberstamped, FOLLY, is added. This creates complex arrangements and overstamping that vary from copy to copy. -- Source of annotation: Marvin or Ruth Sackner.

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Barbora Toman Tylova who visited the Sackner Archive in 2011 contributed an illustrated essay dealing with her experience with the books held by the Archive. -- Source of annotation: Marvin or Ruth Sackner.

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For its time, this book is highly experimental both in its writing and typographic presentation and layout. Some of the poems appear to have been made by the cut-up technique popularized by Gysin and Burroughs. The German and English languages are often intermingled in the same sentences. Others poems are concrete and visual in format. Originals of a few of the visual poems are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This is Gerz's first book and the first edition. For its time, this book was highly experimental both in its writing and typographic presentation and layout. Some of the poems appear to have been made by the cut-up technique popularized by Gysin and Burroughs. The German and English languages were often intermingled in the same sentences. Others poems were concrete and visual in format. Originals of a few of the visual poems are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Hoho Eleison typed in poem refers to the Gregorian chant. Internet: Alan John Neame, only son of Alan Bruce (1888-1967) and Annie Victoria Neame, was born on 24 January 1924 in the Kentish village of Selling. His interest in family history started with a childhood discovery that a large part of the village churchyard was filled with Neame memorials. This early interest, nurtured by elderly relatives with vivid memories of his ancestors living in the mid 19th century, became a fascination that would endure throughout the seventy-six years of his life. Alan Neame graduated from Wadham College, Oxford just after the war, and taught modern languages at Cheltenham College before moving on to lecture at the University of Baghdad. After further lecturing posts in various other Middle Eastern capitals, he gave up teaching for writing and was soon to return to England and to the village of his birth that he so loved. Alan was a religious scholar, working for three years as Literary Editor...

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The title of the piece is printed on the eraser with the word "BIG" in a larger typeface. -- Source of annotation: Marvin or Ruth Sackner.

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The title of the piece is printed on the eraser with the word "BIG" in a larger typeface. -- Source of annotation: Marvin or Ruth Sackner.

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This page contains a poem for Bill Butler and two drawings in the lower right corner. Written in red ink in the lower right corner by Houedard is 'iso lithic shadow games." -- Source of annotation: Marvin or Ruth Sackner.

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This work was exhibited in the Destruction In Art Symposium organized by Gustav Metzger and held in Prince Albert Hall in London in 1966. The event was a precursor to the art movement of Situationism. The work was composed by crumpling overtyped printed texts and printing them on a monoduplicator device as a single copy. These were then collaged onto a black painted panel. -- Source of annotation: Marvin or Ruth Sackner.

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This drawing that forms a grid of crosses and squares from the letters "a"; it was published in Spudburn No.2, 1985. -- Source of annotation: Marvin or Ruth Sackner.

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This drawing that forms a grid of crosses and squares from the letters "a"; it is a study for the definitive drawing that was published in Spudburn No.2, 1985. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is one of three that form a sequence. -- Source of annotation: Marvin or Ruth Sackner.

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George in the title of this poem refers to the British poet, George Dowden. The handwritten leaflet reads, 'these 3 form a sequence & go together as a set.' The other two components are catalogued individually in the Sackner Archive, -- Source of annotation: Marvin or Ruth Sackner.

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George Dowden in the title of this poem refers to the British poet. Moire effects in this poem were produced by overtyping tight grids of letters. This work was reproduced in the Dom Sylvester houedard book edited by Nicola Simpson, "Notes from the Cosmic Typewriter: The Life and Work of Dom Sylvester Houedard" and is stored in the binder labeled DSH London 2012. This poem is one of three that form a sequence. -- Source of annotation: Marvin or Ruth Sackner.