Showing Records: 1 - 12 of 12
Aleph, Alpha, and Alfalfa / Williams, Emmett., 1993
Shares a slipcase with books by Coply and Iannone. -- Source of annotation: Marvin or Ruth Sackner.
Hommage An Emmett Williams / Williams, Emmett ; Rosemarie E. Pahlke, curator ; Horst Spankus, curator ; Nils Schwichtenberg, curator ; Patterson B ; Wasmuth T ; Saito T ; Olbrich JO ; Corner P ; Iannone D ; Ruhe H ; Konig K ; Frei A ; Block F ; Mayer HJ., 2005
This copy is from the unsigned edition = 50 copies were signed and numbered. Works by Emmett Williams depicted in this catalogue that are also held by the Sackner Archive include Alphabet Square (1956/83), she loves me from Mayer's concrete poetry, britain, canada united states, An Opera(1960/1987), Mat Mot No.6 (1965), Shakespeares XXC TH (1979), and La Dernier Pomme Frite (1989). -- Source of annotation: Marvin or Ruth Sackner.
In the Changing Poetry, It's the Abstract in "Concrete" Form / Davis, Douglas M.; Williams E; Gomringer E; Bremer C; Dohl R; Giorno J; Gross R., 1967
Monks Pond. No.4/Win / Thomas Merton, editor ; Williams E ; Guillevic E ; Roseliep R ; Desnos R ; Hollo A ; Grossinger R ; Lax R ; Merton T ; Hamilton AS ; Abele A., 1968
Includes four photographs by Ralph Eugene Meatyard. -- Source of annotation: Marvin or Ruth Sackner.
No.61/June / Am Here Books ; Williams E ; Mottram E ; Corner P ; Nuttall J ; Apollinaire G., 1992
The major portion of this catalog deals with the listing of poetry anthologies. -- Source of annotation: Marvin or Ruth Sackner.
No.69 / Halsey, Alan ; Chopin H ; Finlay IH ; Williams E ; Bann S ; Blake W ; Breton A ; Soupault P ; Burroughs WS ; McLuhan M ; Ginsberg A ; Houedard DS ; Buck P ; Lax R ; levy da ; Merton T ; Brooke-Rose C ; Pound E ; Rothenberg J ; Tzara T., 1990
No.82: Poetry Books / Am Here Books ; Mayer P ; Williams E ; Kostelanetz R ; Horovitz M ; Bann S ; Beach M ; Hirschman J ; Berman W ; Blazek D ; Bory JF ; Kryss TL ; Smith WJ ; Finch P., 1993
No.100: Books 'W-Z' / Am Here Books ; Wagner Dr ; Williams E ; Williams J ; Young K., 1995
No.101: Books 'A' & Anthologies / Am Here Books ; And M ; Andrews B ; Quasha G ; Williams E ; Houedard DS ; Cobbing B ; Furnival J ; Roth D ; Burroughs WS ; Finlay IH ; Smith WJ ; Kostelanetz R ; Federman R ; Phillips T ; UU D ; Hirschman J ; Abish W., 1995
Outsider, The: For Kenneth Patchen. No.4-5 / Lou Webb, Jon Webb, editors ; Patchen K ; levy da ; Johnson R ; MacLow J ; Williams E ; Knowles A ; Kryss TL ; Hollo A ; Antin D ; Higgins D ; Merton T ; Miller B ; Blazek D ; Porter B ; Patchen M ; Meltzer D ; Bukowski C ; Edson R ; Hansen A ; Ginsberg A ; Plymell C ; Perchik S ; Wantling W ; DiPrima D ; Meltzer D ; Ferlinghetti L ; Blazek D ; Miller B ; Bly R ; Dowden G ; Cocteau J., 1968
This is the most visually exiting issue of the periodical. It was available in a hard cover and stiff cover edition. The Sackner Archive copy holds the stiff cover version. There is a section that deals with remembrances of Kenneth Patchen by other poets and writers as well as an interview of Patchen. -- Source of annotation: Marvin or Ruth Sackner.
The Boy and The Bird / Williams, Emmett., 1969
The text is by Emmett Williams and the illustrations are by Tom Wasmuth. Each page contains four lines of poetry. The upper right corner of each page is filled with black step-like forms. As the poem becomes more complex, the black areas grow larger black areas that gradually recede altogether from the page. The poems in turn also become simpler in form. The note in the back of the book states that "the cover illustrates the intention of the artist...to realize this intention the reader may cut out the black area of each page and remove the cover photograph." -- Source of annotation: Marvin or Ruth Sackner.
The Boy and The Bird / Williams, Emmett., 1969
The text is by Emmett Williams and the illustrations are by Tom Wasmuth. Each page contains four lines of poetry. The upper right corner of each page is filled with black step-like forms. As the poem becomes more complex, the black areas grow larger black areas that gradually recede altogether from the page. The poems in turn also become simpler in form. The note in the back of the book states that "the cover illustrates the intention of the artist...to realize this intention the reader may cut out the black area of each page and remove the cover photograph." -- Source of annotation: Marvin or Ruth Sackner.