Each page contains a faceless man's torso that is unzipped and held by his hands. Each image is constructed of different internal types and signs and the zipper pull is positioned over the man's penis. -- Source of annotation: Marvin or Ruth Sackner.

Introduction by Jake Berry. -- Source of annotation: Marvin or Ruth Sackner.

The cover illustration, an etching by Jeanine Coupe Ryding titled "Talking to Myself," consists of a figure surrounded by abstract mirror handwriting. -- Source of annotation: Marvin or Ruth Sackner.

This assembling was produced by compiling the "favorite visual poems" by the invited contributors. Each poem is accompanied by the poet's own explanations of the works on a facing page. -- Source of annotation: Marvin or Ruth Sackner.

This work is based upon "Ubu Roi" by Alfred Jarry; Accame (1932-1999) was the first to translate Jarry's works into Italian. The Sackners first saw this work when they attended the exhibition "Jarry E La Patafisica" held in Milan in 1983. They purchased the work through Ugo Carrega during the exhibition. Accame was one of the co-curators of the Jarry exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Consists of Accame's comments on the series of drawings with the same title held by the Sackner Archive. He indicates that he was the first to translate Jarry's poetry into Italian. The work deals with a teatise on pointology. As Accame explains, "If pataphysic is, by definition, the 'science of particulars,' what there is more particular than a point? ...'point becomes the place where beginning and end meet each other,' as you can also read in my tables." -- Source of annotation: Marvin or Ruth Sackner.

This is an exhibition review of "Symphonic Poem: The Art of Aminah Brenda Lynn Robinson," at the Brooklyn Museum of Art.. The Sackner Archive lent a work to the show. -- Source of annotation: Marvin or Ruth Sackner.

This article deals with the utilization of concrete and visual poetic forms in advertising. -- Source of annotation: Marvin or Ruth Sackner.

Cole collaborated with each artist/poet listed. -- Source of annotation: Marvin or Ruth Sackner.

These poems from Austrian and German poets are generally stylistically concrete. In the foreword, Grumman acknowledges the financial support of the Sackners. Poems with interesting ideas include Schwarz's cow poem in which the letters are arranged to form the shape of a cow, Daniel's Hebrew letter poems and Warnke's concrete poem, mistake discussion, in which this word is printed in 17 horizontal rows with one incorrect letter that is close to the correct spelling cancelled across a diagonal. -- Source of annotation: Marvin or Ruth Sackner.

These poems from Austrian and German poets are generally concrete in style. In the foreword, Grumman acknowledges the financial support of the Sackners. Poems with interesting ideas include Schwarz's cow poem in which the letters are arranged to form the shape of a cow, Daniel's Hebrew letter poems and Warnke's concrete poem, mistakediscussion, in which this word is printed in 17 horizontal rows with one incorrect letter that is close to the correct spelling cancelled across a diagonal. -- Source of annotation: Marvin or Ruth Sackner.

These poems from Austrian and German poets are generally concrete in style. In the foreword, Grumman acknowledges the financial support of the Sackners. Poems with interesting ideas include Schwarz's cow poem in which the letters are arranged to form the shape of a cow, Daniel's Hebrew letter poems and Warnke's concrete poem, mistakediscussion, in which this word is printed in 17 horizontal rows with one incorrect letter that is close to the correct spelling cancelled across a diagonal. -- Source of annotation: Marvin or Ruth Sackner.

In this work, Stetser interweaves letters with images of electric circuit boards. -- Source of annotation: Marvin or Ruth Sackner.