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Poem object has the shape of an alligator; across the body is written the Russian word "oobopshbambo" which means "just a little jazz. -- Source of annotation: Marvin or Ruth Sackner.

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Poem written as an homage to Art Blakey, the jazz musician. -- Source of annotation: Marvin or Ruth Sackner.

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Three pages taken for consideration by Favretto 2016, Two loose pages: Thou and Thou into dover futtering, Honeyblood of jese green the color of the grass (signed at bottom). One mounted page on board Avenue six flights up ten fifteen Longwood avenue (with hand painted paper collage, painting of soldier face, stamps). -- Source of annotation: Marvin or Ruth Sackner.

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The book was published as a tribute to the Wallace Berman retrospective at the University Museum in Berkeley. The poems by several contributors were written by Hiirschman and photocopied for this book. There are several photocopied drawings and collages scattered through the book. The cover design was adapted from a grid of four Verifax pieces done by Wallace Berman in 1964. -- Source of annotation: Marvin or Ruth Sackner.

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The book was published as a tribute to the Wallace Berman retrospective at the University Museum in Berkeley. The poems by several contributors were written by Hiirschman and photocopied for this book. There are several photocopied drawings and collages scattered through the book, some photocopied colored for this deluxe edition. The cover design was adapted from a grid of four Verifax pieces done by Wallace Berman in 1964. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Pocket Poets Series No.55. Agnetta Falk contributed a calligraphic visual portrait rendering of Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

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Hirschman writes in a letter to the Sackners that this is the first example of a Haikrostic, a poetic form of 24 or 25 syllables in contrast to the three line, 12 syllable haiku. Further, the first letters of every word add up to the name of someone. In this work, most of the haikrostics spell out the names of living and dead poets. -- Source of annotation: Marvin or Ruth Sackner.

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Since his last communication to the Sackners, Hiroshima & Nagasaki Days have come & gone, he wrote these haiku in relation to those days. -- Source of annotation: Marvin or Ruth Sackner.

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Book deals with a recent encounter with a homeless person and their cardboard existence. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Hirschman's book is a homage to Sarah Kali accompanied by Gypsy glifs. According to Wikipedia, Saint Sarah is a patron saint venerated by the Roma (Gypsy) people. She is also known as Sara-la-Kali (Sara the black). The center of her cult is Saintes-Maries-de-la-Mer, a place of pilgrimage for Roma in the Camargue, in southern France, where legend identifies her as the servant of the two saints Mary commemorated in the town. An alternative legend has her as a pagan of noble birth and being converted to the faith of Abraham. In the traditional account, Saint Sarah was a native of Upper Egypt; after the Crucifixion of Jesus, Mary Salome, Mary Jacobe, and Mary Magdalene were cast adrift in a boat that arrived off the coast of what is now France "a sort of fortress named Oppdium-Ra", and the location was known as Notre-Dam-de-Ratis (Ra becoming Ratis, or boat); the name being changed to Notre-Dame-del-la-Mer, and then Le Saintes-Maries-de-la-Mer in 1838. Some say that the boat arrived in...

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The title os from a poem by Robert Louis Stevenson, "The Shadow," which the author's mother recited to him when he was a child. He states it was the earliest phrase that he associated with the "hypnotic sound" of poetry. -- Source of annotation: Marvin or Ruth Sackner.

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The title is from a poem by Robert Louis Stevenson, "The Shadow", which the author's mother recited to him when he was a child. He states it was the earliest phrase that he associated with the "hypnotic sound" of poetry. -- Source of annotation: Marvin or Ruth Sackner.

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This work was planned for publication in 200 copies in a handwritten version. This version of the poem was never published but a modified manuscript version led to publication in a typeset version by Zora Gallery in 1964. This book written in the style of Mallarme's "Un Coup De Des," and entitled Interchange for John Cage is also held by the Sackner Archive. The word 'frammis" present in this poem is a slang word for a technical term unknown to the reader, e.g., its synonym "what you may call it." -- Source of annotation: Marvin or Ruth Sackner.

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This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is written within the shapes of Hebrew letters. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is printed in Hirschman's book, "Black Alephs," in linear format. Here it is printed in two columns on a gray background of a William Blake Christian religious scene and overlaid with mandulas of a Kabbalistic Hebrew text written by Abraham Abulafia in the 13th century. -- Source of annotation: Marvin or Ruth Sackner.

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This back cover of Invisible City No.9, 1973, depicts a shaped poem (flask) by Mallarme that was translated and written in his own hand by Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

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Hirschman's response to political events in Eastern Europe and his defense of Albania. -- Source of annotation: Marvin or Ruth Sackner.

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Poem relates the holocaust to the plight of the homeless. -- Source of annotation: Marvin or Ruth Sackner.

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This poem deals with homage to the Russian soldiers killed in WWII in efforts to save their country. -- Source of annotation: Marvin or Ruth Sackner.