This book is a celebration of fringe typography that breaks the rules of traditional typeface in its design and use. -- Source of annotation: Marvin or Ruth Sackner.

In the introduction, Studley writes, "...each designer chose a short passage from Cage's selected writings containing the composer's views on music. Each selection was then studied for possibilities of wordplay, subrosa meaning, graphic and musical n visual and aural texture, white spaces as examples of tacit in music, intonation and cacophony of sound. Solutions are based on the individual's 'reading' of the text but shaped as a typographer would arrange letters, words, spaces on a page..." -- Source of annotation: Marvin or Ruth Sackner.

The introduction of this book by Cage has an experimental typographic layout. The remainder consists of a standard layout of questions and answers. -- Source of annotation: Marvin or Ruth Sackner.

Listed in the catalogue and held by the Sackner Archive are the following: SMS, For Reading Out Loud by Lissitzky, Wendigen with cover by Lissitzky, Ledentu le Phare by Iliazd, Fizzles by Johns, La Fin du Monde by Leger, The Strange Case of Dr. Jekyll and Mr. Hyde and Oiseaux and The Metamorphosis by Didier Mutel, and Architectural Fictions by Chernikov. -- Source of annotation: Marvin or Ruth Sackner.

Book and dust jacket design are discussed in an essay by Chip Kidd. Japanese book and poster design which creates "an anti-traditional visual language" by Koga Hirano is described by Steven Heller. Alston Purvis contributes an in-depth essay with 27 illustrations of Hendrik Nicolaas Werkman titled "The Outsider." Werkman's periodicals "The Next Call," (issues are held by Sackner Archive) are described and depicted. In addition, an example of Werkman's typewriter art (1926-1927) is shown. -- Source of annotation: Marvin or Ruth Sackner.

The mesostic line is "James Joyce." -- Source of annotation: Marvin or Ruth Sackner.