First of seven books covering J. Brossa's works of the period 1969-1975. -- Source of annotation: Marvin or Ruth Sackner.

Volume three of seven books covering J. Brossa's work of the period 1969-1975. Originally published in 1973. -- Source of annotation: Marvin or Ruth Sackner.

Originally published in 1973, fourth of seven books covers Brossa's work from 1969-1975. -- Source of annotation: Marvin or Ruth Sackner.

Seventh of seven volumes comprising Brossa's works from 1969-1975. -- Source of annotation: Marvin or Ruth Sackner.

Second of seven books covering J. Brossa's work of the period 1969-1975. Originally published in 1973. -- Source of annotation: Marvin or Ruth Sackner.

Originally published in 1973, fifth of seven books covers Brossa's work for the period 1969-1975. -- Source of annotation: Marvin or Ruth Sackner.

First of six volumes covering J. Brossa's works of the period 1969-1975. -- Source of annotation: Marvin or Ruth Sackner.

The first section in this exceptional catalogue consists of essays by Josep Salvador and Pilar Parcerisas that comment on the Brossa's visual poetic works. The second section contains essays by Jaume Perez Montaner and Pilar Palomer about Brossa's artist books and literary works. Both sections are profusely illustrated. This catalogue also reproduces images from the books "Oda a Joan Miro"1969 and "Tres Joans" 1978 as well as the print, "Poema Visual" [Letter poem enclosed within a piano image] 1982, works held by the Sackner Archive. All works are well documented. -- Source of annotation: Marvin or Ruth Sackner.

Victoria Combalia writes in her essay The Disturbing Objects of Joan Brossa that "certain themes on Brossa's work are easily recognized as 'Brossian': masks, letters of the alphabet, ordinary objects from daily life, playing cards...Perhaps the most important motif - or at the least the most utilized - by Brossa are letters of the alphabet. Brossa works with them as Cezanne did with his apples; he uses them in every way and in all places, as they are for him his dearest motif." In terms of his visual poetry, Combalia states that it "belongs to the long tradition of experimental poetry, in the line that goes from Mallarme to concrete poetry." -- Source of annotation: Marvin or Ruth Sackner.

Accompanied by an etching by Tapies executed especially for this limited edition. -- Source of annotation: Marvin or Ruth Sackner.

The cover of the deluxe edition (100 copies) was made of wood. The Sackner copy is the regular edition (400 copies) in which the cover is made from cardboard. The aquatint by Amat that is printed across the verso of all the pages depicts a thick black rope. This book is depicted in Brossa's exhibition catalogue "Bverso Brossa" (2009), -- Source of annotation: Marvin or Ruth Sackner.