Scope and Contents curry writes that Underwhich Editions began in 1978 as a consortium of publishers and poets gathered to publish the catalog for the 11th International Festival of Sound Poetry held in Toronto 1978. The group comprised Dean, Nichol, McCaffery, Truhlar Riddel, S. Smith, Dedora, & Dutton. Their first publication edited by McCaffery & Nichol was "Sound Poetry A Catologue," released in time for the festival. The audiographic series began in 1979 with seven titles emphasizing sound poetry up until 1983. Through the influence of Truhlar, music was introduced into the listings after 1983. curry provides an annotated bibliography of the recordings that were published as well as a three tape cassette bp Nichol recording of The Martyrology Books I-IV that was never published. This archive contains two similar versions of an introductory essay, one entitled "Cultural Clutter: The Needle, The Works," the other, "Needling Theehead with a Laser: Inder Which Works." -- Source of...

Scope and Contents

This issue presents a world-wide survey of avant garde music scores with documentation by the composers that forms a logical sequel to Cage's book "Notations" Something Else Press. -- Source of annotation: Marvin or Ruth Sackner.

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Steve McCaffery contributed an afterward. -- Source of annotation: Marvin or Ruth Sackner.

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Steve McCaffery contributed an afterward. -- Source of annotation: Marvin or Ruth Sackner.

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Steve McCaffery contributed an afterward. -- Source of annotation: Marvin or Ruth Sackner.

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Includes critical analyses of bp Nichol's "Martyrology" and Lemire Tostevin's "Color of Her Speech." -- Source of annotation: Marvin or Ruth Sackner.

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This book is from the Avant-Garde & Modernism Studies series. "From the writing of seventeenth-centuy England to the avant-garde contemporary poetics of writers...McCaffery traces intersections along a broad conceptual plan that he terms he protosemantic, demonstrating how a reader must examine the interstices of each text, its paragrammic possibilities, and Deleuzean folds." McCaffery includes a section on "A Humument" by Tom Phillips. -- Source of annotation: Marvin or Ruth Sackner.

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Steve McCaffery edited and wrote the introductory essay for this book that consists of the collected research reports of the Toronto Research Group (TRG) 1973-1992. There is a discussion of the experimental fiction of Steve Katz, Raymond Federman, Madeline Gins, Scott Symons, and B.S. Johnson on pages 79-88. -- Source of annotation: Marvin or Ruth Sackner.

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Schwartzburg provides a very intelligent analysis of Tom Phillips' "A Humument" in Chapter 3. She mentions the following. Stanford's single copy of 'A Human Document' "has lain motionless on the shelves for so long that it has no circulation history prior to three times it was checked out since 1997, when the latest edition of 'A Humument" was taught in a graduate seminar. Phillips' very recovery of Mallock's text demonstrates its loss, for it is only being read now as an extension of 'A Humument.. It is entirely dependent on 'A Humument' - not prior to it." Three major sections of Schwartburg's book deal with works held by the Sackner Archive, Tom Phillips' "A Humument," Susan Barron's unique book, "Twisting Silence," and Ian Hamilton Finlay's "Two Poems." A great deal of research for this thesis was done by Schwartzberg in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This issue deals with post-modern poetry in English. It is the penultimate isssue of Sulfur. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This publication served as the catalogue for the exhibition of Anastasi's work at the Slought foundation, Philadelphia, curated by Oswalds Romberg who contributed an introductory essay. It engages work by conceptual artist William Anastasi in relation to literary and artistic predecessors and contemporaries including Jarry, Joyce, Duchamp, and Cage. This publication is edited by Aaron Levy and Jean-Michel Rabate, with contributions by William Anastasi, Joseph Masheck, Thomas McEvilley, and Steve McCaffery, and an introduction by Osvaldo Romberg. In addition, nearly 40 manuscript pages from William Anastasi's manuscripts "me innerman monophone" and "du jarry," engaging Joyce and Duchamp via Jarry, are reproduced in the book, alongside 10 pages of reproductions of Anastasi's work from the 1960s. By showing concretely that many passages in Finnegans Wake contain buried allusions to Jarry's characters and vocabulary and personality, Anastasi is not simply annotating Joyce's...