ArchivesSpace at the University of Iowa

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The verso is a calligraphic text explaining how the print was made, the exhibition of it and instructions for performing the piece. -- Source of annotation: Marvin or Ruth Sackner.

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This is the first of several visual scores created by making words from the letters of a person's name, in this case the title name. -- Source of annotation: Marvin or Ruth Sackner.

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This drawing as well as many of other works by Basinski is performed by Basinski in his unique, extemporaneous manner. Basinski writed in an accompanying letter, "Here in paper work from mailed FISH FRY (A favorite in Catholic Lent old time buffalo - I find it most amsusing (sic) like a spring rite of passage). Hope you are well and thank you for adding FISH FRY to your marvelous collection." -- Source of annotation: Marvin or Ruth Sackner.

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The poems on the front and back covers are reminescent of Jackson Mac Low's "Vocabulary" performance poems. In fact, McCaffery entitles the two poems, "Vocabulary for Marjeceta Cujes" and "Vocabulary for Salvatore Incardona." -- Source of annotation: Marvin or Ruth Sackner.

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The poems on the front and back covers are reminescent of Jackson Mac Low's "Vocabulary" performance poems. In fact, McCaffery entitles the two poems, "Vocabulary for Marjeceta Cujes" and "Vocabulary for Salvatore Incardona." -- Source of annotation: Marvin or Ruth Sackner.

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This work is also designated as Card 26 from "Stories from the Flats." Tom Kryss conributed the envelope and cover. -- Source of annotation: Marvin or Ruth Sackner.

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Twenty five copies of this performance piece were distributed to Ganglia Press and 25 copies to Gilbert. The Sackner Archive holds another copy that has a collaged, drawn outer cover. -- Source of annotation: Marvin or Ruth Sackner.

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Twenty five copies of this performance piece were distributed to Ganglia Press and 25 copies to Gilbert. The Sackner Archive holds a duplicate copy that according to Nelson Ball is one of several copies that lacked the outer cover. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This poem was performed in 1987 in a Festival in Opposition to the Inquistion.Serge Pey (1950, Toulouse, France) "“ poet, performer, essay writer, organizer. Author of fifteen poetry books, including the following ones: De la ville et du fleuve (Tribu Ed., 1981), Prophéties (Tribu Ed., 1984), La définition de l'aigle (J. Bremond Ed., 1987), Notre Dame La Noire (Tribu Ed., 1988), La Mère du Cercle (Travers Ed., 1994) and many others. He is the founder and editor of the magazines "Emeute" (since 1975) and "Tribu" (since 1981), dedicated to the theory and practice of the contemporary literature. Being the organiser of the group of action flamenco-poetry "Los Afiladores" and one of the participants of the international trend of direct poetry, Pey repeatedly performed in New York, Madrid, Quebec, Mexico-City, Paris, Barcelona, Florence, Tokyo, etc., as well as in the frameworks of the documenta 10 (Kassel, 1997). He is the author of a number of critical and theoretical articles...

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Ferrando composed a poem with five words in Spanish, e.g. hablar, bostezar, pensar, respirar, and sentir meaning to speak, yawn, think, breathe, and feel in English. He specified puntuation signs including an opened and closed parentheses, dashes, and opened circles adjacent to each of these words as a non-verbal code. In the three subsequent panels only the signs are used to convey the performance of the poem. -- Source of annotation: Marvin or Ruth Sackner.