This catalogue lists late 19th and early 20th century French periodicals. -- Source of annotation: Marvin or Ruth Sackner.

Published on Christmas day 1994. -- Source of annotation: Marvin or Ruth Sackner.

Illstrations by H. Knotts. -- Source of annotation: Marvin or Ruth Sackner.

The cover design depicts the title and its mirror image. -- Source of annotation: Marvin or Ruth Sackner.

The illustrations for this book were taken from drawings by Robinson in colored pencils and inks. It is a fictionalized account of a true story of a black slave in the 1830's. -- Source of annotation: Marvin or Ruth Sackner.

The book extolls America with poems in several languages. These languages, Spanish, Arabic, Japanese, Russian, and Armenian, are calligraphed and printed on different colored backgrounds opposite an American seal which picks up the same color in one of its components. All the handwritten texts are also printed together on the fold-out page. -- Source of annotation: Marvin or Ruth Sackner.

Includes poems by Eileen Mathias ("In the Wood") and F. Ann Elliott ("The Snow") that are illustrated by illuminations of the letters of the title of this book, one to a page. -- Source of annotation: Marvin or Ruth Sackner.

Reprinted from Der Druckspiegel, a graphic arts magazine, Stuttgart. -- Source of annotation: Marvin or Ruth Sackner.

The illustrations by Bobbie Creeley are printed on translucent papers so that the text and the image interact. -- Source of annotation: Marvin or Ruth Sackner.

The book was designed by Erb and printed by Elena Laza. It appears that Erb has utilized the cut-up style of William Burroughs for the text. The inked print text on one side of the page has bled to the other side. -- Source of annotation: Marvin or Ruth Sackner.

This book contains reproductions of 22 woodcuts. -- Source of annotation: Marvin or Ruth Sackner.

The poems and writings are by Erica Hunt and Alison Saar contributed the woodcuts. The poems deal with Black identity. Six of the woodcuts are printed on bound-in translucent paper. -- Source of annotation: Marvin or Ruth Sackner.

X/3 The shut book, which itself extends the theme of the opening illustration, represents the answer to Dante's question on the perception of time by the inhabitants of Hell. Time, for them, diminishes towards the present and their awareness of events will cease altogether at the Last Judgement which will mark the closing of the book of future time. All this is embodied here in the picture of a book drawn in exaggerated reverse perspective with human events lying as it were beyond it, shut and clasped as it is. The book features reinforcing imagery in the form of an eclipse, a handless watch, and the final letters of the alphabet (Z and Omega). The collage elements representing the medley of human activity come appropriately enough from old copies of the Illustrated London News. -- Source of annotation: Marvin or Ruth Sackner.

XXV/4 The fragments of Laocoon that were used as the frontispiece of this Canto in an emblematic and formal way are here reassembled (as the reptilian elements in the text reassemble and change) to make a more organic figuration. The classical elements are rearranged to form a mannerist/romantic group, a transcription of the original energies of the sculpture. The colouring is intended to recall the muscular feats of Michelangelo's supermen and the sexual implications of the formal elements are given free reign as if to combine the themes of the preceding illustrations. -- Source of annotation: Marvin or Ruth Sackner.

Canto XXVI/1 GODI FIORENZA, the opening cry of this canto is here writ large (very large in fact since the original drawing for the lettering is fifty inches high) and in sombre colours, to stress its irony. The only gleam of relief lies in the slight displacement of positive and negative plates which, so to speak, by deliberate error serves to outline the words which would otherwise be almost indistinguishable. A Florence which Dante castigates for its loss of honour and brightness is here characterised by a lily in bloodless grey. The coarseness of texture implies a slogan in the manner of wall graffiti (`Up Arsenal' etc.) -- Source of annotation: Marvin or Ruth Sackner.