Book was printed from black & white photographs (rigidly planned) of poems that had already been made with wood block type. Further comments on this book can be found in Campbell's exhibition catalogue at the Yale Center for British Art (held by the Sackner Archive). -- Source of annotation: Marvin or Ruth Sackner.

This book object has the shape of a headless ballerina. -- Source of annotation: Marvin or Ruth Sackner.

The cover has calligraphic text by Seille. -- Source of annotation: Marvin or Ruth Sackner.

The soft cover book has a smaller book bound into the back cover. The book and tape are housed in an envelope which is attached to and folded into the poster. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheets are randomly cut from newspapers in different languages that are published for the most part in New York City. -- Source of annotation: Marvin or Ruth Sackner.

The bookbinding was done by Jane Rollo. Each copy is virtually unique since collages were made adhering a limited number of the defective printed pages onto the pagea of the printed book. -- Source of annotation: Marvin or Ruth Sackner.

The introduction was written by Robert Filliou. Each page depicts a grid of images appropriated from an encylopedia. The images are printed in green except for the loose print that in red. The images are captioned by text in the encyclopedia or text added by the authors. -- Source of annotation: Marvin or Ruth Sackner.

The text printed on the red umbrella is by Robert Louis Stevenson. The colophon is printed on a circular paper fastened to the tip of the umbrella. It states that this edition is dedicated to Judith A. Hoffberg, whose passion for artists' books led her to become the Founder and Editor of Umbrella, a resource for news and documentation of contemporary book art since 1978. Judith is co-founder of The Art Librarians Society of North America (ARLIS/NA). -- Source of annotation: Marvin or Ruth Sackner.

This book was conceived and directed by Harriet Bart and printed in collaboration with Philip Gallo. Bart writes that she searches "for ancient, small quotidian objects and early signs of writing. Countless treasures of the daily capture my imagination...Objects and inscriptions, beautiful and mysterious, carry forth their secret stories and the everyday poetry of praise." Each page of found poetry is recreated by Barth and contains a unique gilded geometric form. the binding is by Jill Jevne. -- Source of annotation: Marvin or Ruth Sackner.

The title page of the duplicate copy has waterstains on the lower third. -- Source of annotation: Marvin or Ruth Sackner.

The facing pages of the books have a text on the right side with a print from a black and white line drawing on the left side. -- Source of annotation: Marvin or Ruth Sackner.

This second volume of this series is implemented with markings, words and letters and is intended as a work on non-fiction. FnL (Francis and Leonie) collaborated on the concept, construction and binding. The authors write that "meaning is abolished and priority given to sight and touch." Postmodern Queer informs the queer from a postmodern perspective and is an on-going project that appears in many formats and sizes. -- Source of annotation: Marvin or Ruth Sackner.

Contains volume I (burlap, soft cover) and volume II (paper).

All books were assembled by Ben and no two copies are alike. -- Source of annotation: Marvin or Ruth Sackner.

All books were assembled by Ben and no two copies are alike. -- Source of annotation: Marvin or Ruth Sackner.