Designated Chapbooks No.12. The author is also known as Jennifer Pike. -- Source of annotation: Marvin or Ruth Sackner.

There is an explanation and translation of the concrete poems in English at the back of the book. -- Source of annotation: Marvin or Ruth Sackner.

This collage done as an homage to William Burroughs has a picture of the writer in the background and cut-ups (a technique which originated with Burroughs and Gysin) of text from newspapers and periodicals overlaying his image to produce a new fiction/poetry. -- Source of annotation: Marvin or Ruth Sackner.

This work is reproduced in the exhibition catalogue "Concrete, Experimental Visual" (1989). One collage (Solar VI) is framed and hung. Solar III is also reproduced in Mendes de Sousa, Carlos & Ribeiro, Eunice Editors: Antologia da Poesia Experimental Portuguesa: Anos 60 - Anos 80, 2004, a book held by the Sackner Archive. The Sackners lent these collages to the exhibition 'Poesure et Peintrie' (1991) in Marseile. -- Source of annotation: Marvin or Ruth Sackner.

Reprinted from Stereo Headphones No.5, 1972. The authors debunk the assertion of Stuart Mills who in Akros No.18, 1972 stated that the poem-poster was introduced by Ian-Hamilton Finlay. They go on to further describe the pioneers of Concrete Poetry in their opinion. Rebuttals to their conclusions by Stephan Bann and Henri Chopin are also published. Mentions that Ernest Fenellosa, who died in 1908, used the term 'concrete poetry' in an essay, 'The Chinese Character as a Medium for Poetry' in 1901. -- Source of annotation: Marvin or Ruth Sackner.

These poems were written by students at Epping Forest High School, Loughton, Essex, when Bob Cobbing was the visiting poet. -- Source of annotation: Marvin or Ruth Sackner.

Johnson writes in the introduction, "These poems are listenings, as poems must listen and sing simultaneously. They are a progression of hearings of Mahler's 'Song of the Earth' on records, in concert, and in my head."The only difference between this disavowed edition and the regular edition that is also held by the Sackner Archive is the inclusion of one rather than three blank pages at the end of the book. -- Source of annotation: Marvin or Ruth Sackner.

Johnson writes in the introduction, "These poems are listenings, as poems must listen and sing simultaneously. They are a progression of hearings of Mahler's 'Song of the Earth' on records, in concert, and in my head."The only difference between this regular edition and the disavowed edition that is also held by the Sackner Archive is the inclusion of three pages rather than one blank page at the end of the book. -- Source of annotation: Marvin or Ruth Sackner.

Edited by Peter Finch. This is issue No.1 of Second Aeon Folder series; the second and final number, J.P. Wards's "From Alphabet to Logos," is also held by the Sackner Archive. In the introduction, Cobbing describes how he altered the found poems in this work to their final form. -- Source of annotation: Marvin or Ruth Sackner.

Brilliantes used typewriter characters to create distinctive shapes from the characters alone, viz. cats, dogs, lions, tigers, giraffes, bedbugs, girls with hula hoops, farmers, toothbrushes, scissors, pans etc. His images are quite unique in typewriter art and poetry and there are no other examples like his in the Sackner Archive. This book is stored in the same portfolio box as Bridgwater's "Typograms." -- Source of annotation: Marvin or Ruth Sackner.

The book is an expansion of a print (Four People) that depicts a story akin to "it didn't happen on my shift!" -- Source of annotation: Marvin or Ruth Sackner.