Scope and Contents The card is an instruction sheet for assembling the panel from pages in the book; the loose sheet is an errata sheet.In the introduction to Carnival Panel Two, McCaffery comments on Panel One. "Carnival is planned as a multi-panel language environment, constructed largely on the typewriter and designed ultimately to put the reader, as perceptual participant, within the center of his language.The roots of Carnival go beyond concretism (specifically that particular branch of concrete poetry termed the `typestract' or abstract typewriter art) to labyrinth and mandala, and all related archetypal forms that emphasize the use of the visual qualities in language to defend a sacred centre. Pond's vorticism also forms part of the grid of influences, and on one level at least, Carnival can be seen as an attempt to abstract, concretize and expand Pound's concept of the image as the circular pull of an intellectual and emotional energy. Above all it is a structure of strategic...

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Paul Collins and Simon Moor were responsible for the design of this poster, -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the introduction to this book, McCaffery comments as follows. "Panel Two is largely an expression of language emerging into conflict and internecine statement conveyed in the variety of mechanical means of expression that's employed. It was predicated on a felt implication in Saussure's assertion that language is differential and oppositive at its base. Having discovered, explored and tested the parameters of the typewriter in Panel One, Panel Two places the typed mode in agonistic relation with other forms of scription: xerography, xerography within xerography (i.e. metaxerography and disintegrative seriality), electrostasis, rubber-stamp, tissue texts, hand-lettering and stencil. The compositional problem was in finding a form large enough to accommodate these conflicts and what arose as a solution was the interlocking single page to form a sixteen unit panel with the offset book format (to be abandoned in the process of assembling the panel) constituting the final stage in...

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This print was made by overprinting Panels I & II of the original Carnival texts. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated pomez a penny #54 and th wrecking ballzark #25. This is the 2nd edition of the poem which was first published by Ganglia in 1969. -- Source of annotation: Marvin or Ruth Sackner.

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The silkscreened cover print was designed by jw curry. -- Source of annotation: Marvin or Ruth Sackner.

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Gynn Davies founded this press that was in business from 1977-1985. -- Source of annotation: Marvin or Ruth Sackner.

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Probably published in an edition of 400 copies. McCaffery provides an excellent summary of the construction of this modified version of an early section of carnival. -- Source of annotation: Marvin or Ruth Sackner.

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Each page was composed in a photocopier and has the same phrase "complete charges from" obsessively repeated and overprinted. In some pages, this is combined with abstract marks, in others with images such as an eye or a standing gorilla. -- Source of annotation: Marvin or Ruth Sackner.

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Usually published in an edition of 400 copies. The poem deals with ecological balance. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue consists of a listing of the works of Richard Truhlar, his separate publications, his contributions to books, his contributions to periodicals, and cited material. jw curry provides an introductory biographic sketch. Several examples of Truhlar's poetry are reproduced in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Includes critical analyses of bp Nichol's "Martyrology" and Lemire Tostevin's "Color of Her Speech." -- Source of annotation: Marvin or Ruth Sackner.

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Each orange card reproduces the orginal typed poems. -- Source of annotation: Marvin or Ruth Sackner.

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This book was edited by Darren Wershel-Henry. -- Source of annotation: Marvin or Ruth Sackner.

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McCaffery has published very witty variations on this poem in the imagined style of others. -- Source of annotation: Marvin or Ruth Sackner.