ArchivesSpace at the University of Iowa

Scope and Contents

Marvin Sackner composed the poetry based on page 12 of "A Human Document" as a birthday tribute to Tom Phillips. He used a scanner, Photoshop and Adobe Illustrator as software tools. Fiona Maddox, Phillips' wife, sent blank pages to his friends and will bind them into a book. The text reads, "To TP it was meant to be, a good book for men and women, who experience so much mature observation of good life between the two, FM TP a picture complete, a true representation of life." -- Source of annotation: Marvin or Ruth Sackner.

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The collage was made from a page of a German text. -- Source of annotation: Marvin or Ruth Sackner.

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In an introductory essay, the exhibition curator Jim Edwards, compares Cross' dictionary work to Tom Phillips' "A Humument." He further indicates that the artist he most equates Doris Cross to is Wallace Berman. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The author writes in her introductory notes, "These poems are erased from Emily Dickinson's poems of 1861 an 1862, the first years of the United States Civil War." The back cover contains the following quote by Tom Raworth: "In the tradition of Tom Phillips' " A Humument" and Ronald Johnson's "Radios", Janet Holmes mines or excises Emily Dickinson's Civil War period poems to engender a vision of the current wars in the Middle East."Amazon.com: "If you write out 'The Poems of Emily Dickinson' and erase some of the letters very neatly and precisely, you can get to THE MS OF M Y KIN--the manuscript of my kin, as it were; the manuscript of my family. It might also be said to be the manuscript of my kind." "If Ronald Johnson had an epic (Paradise Lost) to erase in creating his masterwork, RADI OS, then Janet Holmes has chosen a more difficult task, namely that of erasing from the most compressed poetry there is. Emily Dickinson's poems come to us so nearly pre-erased that their further...

Scope and Contents

This is the first edition. In an author's afterward, Foer writes that he used the text of Bruno Schultz''s book "The Street of Crocodiles" to create this "imagined larger book, this ultimate book, that every word ever written, spoken or thought is exhumed." Bruno Schultz was killed by the Nazis and only two volumns of his writing survive. The artist Olafur Eliason writes that Tree of Codes is "an extraordinary journey that activates the layers of time and space involved in the handling of a book and its heap of words." Foer creates a new poetic text mined from the original novel. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the second edition. In an author's afterward, Foer writes that he used the text of Bruno Schultz's book "The Street of Crocodiles" to create this "imagined larger book, this ultimate book, that every word ever written, spoken or thought is exhumed." Bruno Schultz was killed by the Nazis and only two volumns of his writing survive. The artist Olafur Eliason writes that Tree of Codes is "an extraordinary journey that activates the layers of time and space involved in the handling of a book and its heap of words." Foer creates a new poetic text mined from the original novel. -- Source of annotation: Marvin or Ruth Sackner.

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Brown has found new poetry within library catalog cards much in the manner of Tom Phillips. Presented to the Sackners while Brown was perusing the Sackner Archive and curating for his exhibition "Treasures of Florida Libraries" presented to the annual Special Collections Librarians conference held in Miami. -- Source of annotation: Marvin or Ruth Sackner.