This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

This is a page from the manuscript dedicated to Ruth & Marvin Sackner. Kempton used a Panasonic electronic typewriter to produce the typewritings that he called glyphs. It was not published until 1993 by Runaway Press but then in a reduced size. -- Source of annotation: Marvin or Ruth Sackner.

Each page contains a typewriter poem using the word, "poem." -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a typewriter piece that depicts geometric imagery. -- Source of annotation: Marvin or Ruth Sackner.

Each page depicts a typewriter piece that has geometric imagery. -- Source of annotation: Marvin or Ruth Sackner.

A small red typed 3-D box is plsaced at the top of a wall-like image. -- Source of annotation: Marvin or Ruth Sackner.

This book documents the correspondence between Hamady and Wilde in the form of repoducing 1159 letters reset in type. The two corresponents address themselves in profanity-laced salutations throughout their humorous letters to each other. It is the in the ninth book collaboration between Hamady and Wilde from 1971 and 2000. Hamady writes of the correspondence, "As a segmented evolution, with no determined destination other than the voyage itself, this text and what it represents, could, conceivably, cause a certain difficult affliction to those who preacertain a preference for plot or conclusion...Also the many aliases usually forged from specificities in the lacunae of text will obfusk the identity of who wrote what. Since these writers seem not to care why should anyone else?" -- Source of annotation: Marvin or Ruth Sackner.

The notations to the right of the image were inspired by Julius Nelson's book "Artyping (1939-1940), a book held bythe Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Original page from the Clean Sails book. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book, one to a page, were composed on a smith-corona sn 118432 typewriter. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this issue are a collaboration between Essary and Kempton. The issue was exhibited in Visualog 2, San Luis Obispu, California. The exhibition was curated by Karl Kempton. -- Source of annotation: Marvin or Ruth Sackner.