Jerome Rothenberg contributes a pre-face in which he writes that "Footnotes, presented here, is the accounting of where Alison Knowles' feet (and hands and mind) have taken her." The pages of this book are reproductions of notebook pages dating from 1975 to 1995, inscribed and collaged by Knowles. As Knowles herself stated, "It is important to remember that we are free to make art and poetry out of anything: A loaf of bread, some beans, a hasty jotting on the train." -- 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.

The books listed were from Fuller's library and often inscribed to him. -- Source of annotation: Marvin or Ruth Sackner.

These facsimile notebooks in Brecht's handwriting are studies for his performance pieces, critical writings, experimental musical scores, poem objects and chance images. One volume is a replica of Brecht's class notes from the summer of 1958 taught by John Cage. Dieter Daniels was the editor with the collaboration of Hermann Braun. -- Source of annotation: Marvin or Ruth Sackner.

Consists of a critical introduction of Hubaut's work by Restany followed by an interview of Hubaut which was the subject of a conference held March 28, 1994 at l'l.U.F.M. di Calvados. Restany begins his remarks, "...Joel Hubaut, for he is among the protagonists of the third generation of the postwar period, someone who, precisely, has also identified his work with life. Life, for Joel Hubaut is above all a linguistic phenomenon... Language is like life, it has highs and lows..." -- Source of annotation: Marvin or Ruth Sackner.

Obituary of Jean Brown, whose archive inspired the Sackners to focus their collection on concrete and visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Hirschman contributes a long critical essay on Mallarme's "Un Coup de Des" and its relationship to Pierre Boulez's "Third Piano Sonata." Hirschman points out that the study of "Un Coup de Des" inspired him to write "Interchange" about Los Angeles in which the pages can be interchanged. -- Source of annotation: Marvin or Ruth Sackner.

This letter page might be a seicond of two that cannot be found. In it, Houedard discusses the religious life of monks as seen from the outside world.The remainder of the letter deals with meeting the person to whom it is addressed. Desmond, a prisoner that dsh befriended is also mentioned. -- Source of annotation: Marvin or Ruth Sackner.

Asks Curtay for information about his "body poetry." -- Source of annotation: Marvin or Ruth Sackner.

In his introductory essay, Cage describes the background for the writings in this book. He mentions that his mesostics were inspired by one of Edward Denby's birthdays. -- Source of annotation: Marvin or Ruth Sackner.

In his introductory essay, Cage describes the background for the writings in this book. He mentions that his mesostics were inspired by one of Edward Denby's birthdays. -- Source of annotation: Marvin or Ruth Sackner.

The Owen Sound group comprised Steven Smith, David Penhale, Michael Dean, and Richard Truhlar. -- Source of annotation: Marvin or Ruth Sackner.

This book takes the form of conversations between Cage and Retallack ranging from his theories of chance, composition, collaborations, and the aesthetics of multi media work. A critical essay traces Cage's earlier years and works. A detailed section of the book is devoted to Cage's Mesostic poetry. -- Source of annotation: Marvin or Ruth Sackner.

This the 4th printing of the book. -- Source of annotation: Marvin or Ruth Sackner.