The critical text on the loose sheet by Augusto De Campos compares cummings' poetry to Mallarme's Un Coup de Des. De Campos notes that in contrast to lettrisme, in cummings' poetry the words are not dissociated from the meaning nor are letters valid by themselves. De Campos believes that the word expressionism (typographical gesturing) and disfigurement of the discursive in cummings' poetry find their best visual arts equivalent in the works of Paul Klee. This is the second edition, the first edition was published in 1960. Stored in Augusto de Campos box. -- Source of annotation: Marvin or Ruth Sackner.

Includes reproductions of the correspondence between cummings and De Campos focusing on the typesetting of the poems. -- Source of annotation: Marvin or Ruth Sackner.

The Haiku for three voices that follow red, bronze and black painted lines is as follows: alphabet letters / acting in complete accord / sound blows through the eye. A second poem is titled "re-reading cummings." These works were a birthday present to Marvin Sackner from Scott Helmes. -- Source of annotation: Marvin or Ruth Sackner.

This book prints Bory's concrete poems and includes reproductions of prints which are held by the Sackner Archive, viz., Hommage a Pavlov and Stock Market Report. -- Source of annotation: Marvin or Ruth Sackner.

Description of book from the inside dust jacket: "Liselotte Gumpel brings to her interpretation of these two strains of poetry a solid grounding in language and cultural history as well as fresh and unbiased perceptions about the poems themselves. She offers historical background, draws connections with literary concretism's antecedents in visual arts and music, and usefully applies the semiotics of Max Bense and C.S.Peirce in her descriptions of the "dicentic genres" of the East and the "rhematic connexes" of the West. Under the rubrics of teleological humanism and creative zest she explores the shaping traditions of the two movements. A chapter on significant anthologies from East and West Germany concludes her survey." The dust jacket depicts a mandala by Kriwet that Gumpel characterizes as a "Round Disc." -- Source of annotation: Marvin or Ruth Sackner.

This essay is an excellent critique and analysis of selected poems that Grumman ties together. -- Source of annotation: Marvin or Ruth Sackner.

Bob Grumman wrote the introduction in which he comments on the form of Kempton's poems whereby a word is split into two or more words by intervening spaces. He mentions that G. Huth designated this form as a severlation. These poems are printed one to a page, e.g., artifact = art if act, justice = just ice, herring = her ring, netherlands = net her lands, etc. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns bp Nichol's "Gronk," pornography case against d.a. levy, and D. Harris' article on Ataud for "L'Herne." Bory asks Harris to send a copy of "Gronk" to H. Sohm. -- Source of annotation: Marvin or Ruth Sackner.

Newell devotes entire chapters to the analysis of works by Apollinaire and Dylan Thomas. -- Source of annotation: Marvin or Ruth Sackner.

The distribution to others of this work is unknown. The original typed poem, "Sonic Water" is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Traces the history of the Brazilian concrete poets. -- Source of annotation: Marvin or Ruth Sackner.

Coblentz expresses highly negative feelings about contemorary poets writing experimental and concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This is the second printing of the book. -- Source of annotation: Marvin or Ruth Sackner.