ArchivesSpace at the University of Iowa

Scope and Contents

In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The binding and typing of this first volume of the final typescript translation (with handwritten ink corrections by Phillips) was done by Pella Erskine-Tulloch although her usual gold stamped name is missing from the inside back cover. The Roman numerals from I to XXXIII are stamped on each of the three volumes within a hexagon, pointing downward with the initials TP stamped at the bottom. The numbers from I to X are in gold leaf signifying the contents of the volume. The hexagon outline is stamped Dante Inferno repetitively in very small type. The spine of each volume contains the title Inferno in black stencilled letters over which Dante Inferno is repetitively stamped in gold. The top edges of the three volumes are gilded and stamped with multiple fleurs-de-lis. The endpapers are printed with "Una Selva" stencilled text. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This second translation contains many handwritten corrections by Phillips. The white binding by Pella Erskine-Tulloch repeats the theme of volume 1 and 2 with fleurs-dei-lys and an uncolored portrait of Dante in his study. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This volume of typed translations has more alterations and additions than the first typescript of cantos. On ten pages, Phillips has written "retype" in a decorative script and included a small ink cartoon-like drawing of a human or angel at a typewriter. The human image is a caricature of Pella Erskine-Tulloch. One cartoon bubble with this caricature reads, "Say Mr Dante I think your comedy is simply divine!" Another states, "A canto a day wipes the blues away." This Phillipsian humor referring to a great, poetic work of translation, can be found not only in the Inferno, but in many of his visual and literary works including his book dedicated to Rushdie, "Merely Connect," and in several pages of "A Humument," and in his introduction to "The Portrait Works" from the National Portrait Gallery.The binding by Pella Erskine-Tulloch repeats the theme of volume I with fleurs-di-lis and a portrait of Dante in his study, with the latter now presented in a coral color on both covers. --...

Scope and Contents

The poems in this book were composed by three 17th century German poets and typographically laid out by Ruhm. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This contemporary Ukranian translation of an early 18th century manual of poetics used at the Kiev Mohylo Academy contains examples of rudimentary concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. The Sackner Archive purchased several items by the Rixdorfer Drucke, Dieter Roth, Wolfgang Schmidt, Anna Staritsky, Pierre Albert-Birot, Timm Ulrichs, and Maurice Lemaitre at this auction. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. The Sackner Archive purchased a signed, deluxe copy (one of 55 copies) of "Aveux Non Avenus" by Claude Cahun (p220) from this auction. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.