The object consist of colored plexiglass letters suspended with a plexiglass hook. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book are mainly sound poems from made-up words. The afterward consists of an essay about Jandl's work by Helmut Heissenbuttel. There are slight differences in the layout of the poems and their order in this edition compared to its second publication in 1971. For example, the same poem on pages 194 and 195 of this edition (1966) is laid out on page 190 in the second edition (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book are mainly sound poems from made-up words. The afterward consists of an essay about Jandl's work by Helmut Heissenbuttel. There are slight differences in the layout of the poems and their order in this edition compared to its first publication in 1966. For example, the same poem on page 190 of this edition is laid out over facing pages 194 and 195 in the first edition (1966). -- Source of annotation: Marvin or Ruth Sackner.

This book provides a sampling of Scherstjanoi's oeuvre from 1982-2008. -- Source of annotation: Marvin or Ruth Sackner.

Peignot provides examples of word-images along with comments in an alphabetic listing. He uses alterations of letter spacing and boldness of the Futura typeface, repetition of letters, anagraphic presentation, variations in the arrangement of letters, mirror imaging, and punctuation marks to enhance and visually define the meaning of words. The poems are related to those found in another book published by Peignot in the same year, Toutes les Pommes se Croquent. Both books are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is an inclusive historical survey from 1963-1968 of the concrete/spatialistic poetry composed by the authors. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of examples of Ovcacek's typewriter, letraset, and stencilled letter works done between 1962-1993 along with critical essays in the Czech language. Jiri Valoch contributed an introductory essay. Ovacek's typewriter poetry marks him as one of the foremost contributors to this style of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns S. Bann's gift to E. Gomringer of four cards of his work which are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Bann reports damage to the screen of Furnival's installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

Bann discusses Furnival organizing transportation of "Clyne" constructions, vowel screens, three columns, Ed Wright's "Four Sails" glass, "Ajar" wooden construction, "Ark/Arc" in plastic...[and] column with "Wave/Wave" to Nottingham, and the possibility of using Mayer's "Ampersands" for a wall or outdoor display. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

The drawing on a heavy brown paper utilizes a grid of graphite inscribed squares that are filled in a random fashion with vividly painted letters and numbers. The latter appeared to have been laid out with a stencil and encompassed one to three square constellations. The attachment of meaning to the letters, numbers, and their lay-out is not readily apparent. -- Source of annotation: Marvin or Ruth Sackner.

This is a "proof copy" of the book according to Topel. -- Source of annotation: Marvin or Ruth Sackner.