ArchivesSpace at the University of Iowa

Scope and Contents

This is Gray's second novel. The story deals with the life of an alcholic, Scottish electrician who fantasizes about sexual bondage scenes and akin those in "The Story of O." The protagonists relations with his mistress, wife and family as well as his friends constitutes the major portion of the book. Gray's Epilogue reveals sources for the story structures in the various chapters. The book includes several pages with highly experimental concrete poetic layouts. This American edition of the book is larger in size than its British edition, also held by the Sackner Archive. ln addition, this increase size is reflected in the image and typeface of the dust jacket. The dust jacket, that was designed by Gray, summarizes the content of the novel on its left side and depicts a self-portrait by Gray in the form of a line drawing on its right side. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is Gray's second novel. The story deals with the life of an alcholic, Scottish electrician who fantasizes about sexual bondage scenes and akin those in "The Story of O." The protagonists relations with his mistress, wife and family as well as his friends constitutes the major portion of the book. Gray's Epilogue reveals sources for the story structures in the various chapters.The book includes several pages with highly experimental concrete poetic layouts. This British edition of the book is smaller in size than its American counterpart, also held by the Sackner Archive. ln addition, this decreased size is reflected in the image and typeface sizes comprising the dust jacket. The dust jacket, that was designed by Gray, depicts inverted 'Y's' in a grid on its left side and upright 'Y's' on its right side. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Seeing Eye Books Series VI, Book 4. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Peter Ganick. -- Source of annotation: Marvin or Ruth Sackner.

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The cards with their borders cut-out in different placements and perforations along a vertical center line allow incorporation of new words from the card immediately underlying the cut-outs & perforations into the text above it. The sorting of the cards is random. The text is printed in red or black and the calligraphy has varied sizes. -- Source of annotation: Marvin or Ruth Sackner.

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This is the German translation of "Double or Nothing." The folded loose sheet depicts colored alphabet pasta. The text is typeset rather than photocopied from a typed manuscript as it is in the original American publication. -- Source of annotation: Marvin or Ruth Sackner.

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A note in Fluxus Codex indicates that this work was included in several Fluxus assemblage boxes and also sold separately. -- Source of annotation: Marvin or Ruth Sackner.

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And notes that this work utilized the 4,918 words of the combined vocabulary of Thomas More's Utopia (1616) and Sir Francis Bacon's The New Atlantis (1623). -- Source of annotation: Marvin or Ruth Sackner.

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The calligraphy includes several different typefaces reminiscent of that utilized in the German periodical of the early sixties, Rhinoceros. -- Source of annotation: Marvin or Ruth Sackner.

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This book has several pages with text composed of punctuation marks and mathematical symbols. -- Source of annotation: Marvin or Ruth Sackner.

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The first printing of this 3rd edition took place in 1992; this is the second printing. The first (Swallow Press) and second O(Greno Verlag) editions are also held by gthe Sacknsr Archive. This third typeset edition edion does not well reflect the typewritten form of the first edition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the first German edition of this book.Audrey Niffenegger Amazon.com writes: "Eric Sanderson has lost his memory, his girl, his life as he once knew it. His pre-amnesiac self is sending him letters, a sort of correspondence course on how to be Eric Sanderson. Unfortunately, this previous self didn't really have it all together either. This is too bad, because the source of all the trouble is a conceptual shark, a Ludovician shark, no less. Soon Eric is on the run, trying to piece it all together and find true love before his mind gets wiped by the shark for the twelfth and probably final time. Steven Hall is an inventive, funny and extremely smart writer. I am a letterpress printer and a typophile, and I was drawn to his book because of the typography: The Raw Shark Texts is riddled with typographic games, codes, a flip book, and a boatload of very elegant plot devices that hinge on collisions between the Information Age and the imagination. At one point Eric and Scout, his...

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This is the text for the unnumbered, silkscreened, unbound pages of the Artist Book of the same title, which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This novel parallels the structure of Dante's Inferno but reduces his vast array of sinners and saints to a few mortals who experienced their heavens and hells on earth in contemporary times. -- Source of annotation: Marvin or Ruth Sackner.

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Lowell mentions Larry Walrich's (the bookseller) death in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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This is the successor to Nebulum No.1 which discontinued publication. Nebulum, Olive Dachsund, and Her(M)etic Press are stored in the same portfolio box and are filed under Olive Dachsund. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This novel was written from 1954 - 1956 by Kutter. The book design and illustrations were done by Karl Gerstner. The frontpiece of the book depicts its title as fragmented text with a concrete poetic appearance like Mon's concrete poems in the sixties. -- Source of annotation: Marvin or Ruth Sackner.