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Johanna Drucker contributes an introductory essay on historic aspects of visual poetry which is carried forth to multimedia information systems of today. She also was responsible for the cover design. Karl Young contributes an afterword in which he focuses on mail art. He particularly addresses his own, ongoing Shadow Project that refers to the faint traces people left on nearby surfaces after they were vaporized by the atomic bombs in Japan. Young indicates that d.a. levy stands out as the major figure in the last three decades who left an indelible inprint on underground publications and visual poetry. He also adds that Tom Phillips is the most complete book artist. The Sackner Archive partially funded this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

According to Weiss' introduction, these poems consist of a "sequence of visual poems and word-only poems based on our familiar numbering system." Weiss constructs the poems as imaginative forms or as abstract ideas; they attempt to establish close connections between numeration and imagination. The Sackner Archive also holds the book based upon this manuscript. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

According to Weiss' introduction, these poems consist of a "sequence of visual poems and word-only poems based on our familiar numbering system." Weiss constructs the poems as imaginative forms or as abstract ideas; they attempt to establish close connections between numeration and imagination. The Sackner Archive also holds the manuscript for this book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This poem is based upon Thomas Campion (1527-1620), "When thou must home." However intended, even if only as rhetorical ingenuity, this one-sentence condemnation is sharp enough to produce the effect on the reader which the blurred printing stands for. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Swinburne, from "Ave Atque Vale" 1837 - 1909. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon John Fletcher (1579-1625), "Weep No More." -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Ben Jonson, from "The Sad Shepard" -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Thomas Campion (1567-1620) "Rose -cheek'd Laura." -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Coleridge, "Phantom" -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Dryden (1631-1700) -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based uponElizabeth Barrett Browning (1806-1861), Sonnets From the Portuguese, 43. -- Source of annotation: Marvin or Ruth Sackner.

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.This poem is based upon John Skelton (1406?-1529), "Prayer to the Father of Heaven." The poem consists of normal typed letters and just above it a retyping with faint letters, presumably from a deliberate use of a faded typewriter ribbon. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon John Bunyan, "Of the Going Down of the Sun" Shakespeare, "Full Fantom Five" -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon"For the nightmare." 2093 Bodleian 15353 Early 15th Century. Reprinted in Luria and Hoffman, Middle English Lyrics, as No.116, with glossary. -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon "Sources for the images on pages 20-22." Published in Rampike (1985). -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon "Sources on pages 18-19." -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Robert Browning (1812-1889), "Pippas's Song." -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon Marvell "An Epitaph Upon" -- Source of annotation: Marvin or Ruth Sackner.

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This poem is based upon William Wordsworth (1770-1850), "Mutability." William Strode (1602-1645), "On Chloris Walking in the Snow." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Weiss' book, "Visual Voices: The Poem as a Print Object," 1994 consists of poems appropriated from ancient and classic poems that have been rearranged or altered in their presentation as typed artpoe to convey new meanings mainly based mainly on concrete poetic or conceptual text expressions. He provided an explanation for each of 71 poems published in the book as well as 28 unpublished poems in the typed manuscript. He classified his styles of typed artpoe with headings such as zipperpoem, caressed and overloved poem, telegram poem, etc. He altered poems from such stalwarts as Andrew Marvell, William Wordsworth, Robert Browning , Alfred Tennyson, and John Keats among others. VISUAL POETRY BY IRVING WEISS Team Sonnet: 14 Lines by 14 Different Canonical Poets from Visual Voices: The Poem As a Print Object Appease this virtuous enemy of man (MARVELL) The way which thou so well hast learn'd below, (DRYDEN) And dwell, as in my center, as I can, (JONSON) As into air the purer...