Jo Hincks did the linocuts illustrating Finlay's one-word poems that appear, one to each page. Harry Gilonis provided the commentary on the poems and the concept of the one-word poem. He explains the background behind the Nautical terms employed by Finlay as the one-word poem relating to the various titles. This book was published on the occasion of an exhibition that was designed by Finlay and Simig. Colin Sackett laid out the typography. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compendium of Canadian avant garde writing from 1965 to 1985. Margaret Atwood, who contributed an over-view essay of the work produced during those years, collaborated with Bok to organize the selections of experimental fiction by the authors. John Riddell contributed "Pope Leo: El Lope" from Criss-Cross. It is a lipogram using only the letters e, o, l and p. The contribution by bp Nichol is from "Still... a novel that depicts in minute detail the scenography for a potential, but postponed , story... his words provide a kind of textual terrain across which the eye pans like a camera." Steve McCaffery's "Panopticon" is an enigmatic whodunnit...The panopticon symbolizes the maze of words through which the reader must wander, playing the role of invisible spectator." -- Source of annotation: Marvin or Ruth Sackner.

This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

This anthology Includes reprints of a selection of curry's publishing activities focusing on his rubberstampings of minimalistic and concrete poems of his own and his circle of poets. Dean comments: this making precious of the single poem was the result of necessity as much as esthetic deliberation; curry published within a finite small budget. This could have caused poor-quality production, i.e. Gestetner, offset or xerox. Instead it resulted in hand-stamp, hand-set rubber type, as his chosen (& unique) means of publication. His scaled down book remained both anarchic and typographically refined. -- Source of annotation: Marvin or Ruth Sackner.

Nicholas Zurbrugg's review of the poetry of Henri Chopin

HEXEN2.0 specifically investigates the participants of the seminal Macy Conferences (1946-1953), whose primary goal was to set the foundations for a genersl science of the workings of the human mind...HEXEN2.0 draws this material together in the form of alchemical diagrams, photo-text works, drawings and designs for 78 card Tarot deck. [Hexen2.0 is] based on actual events, people, histories and scientific projections of the future... -- Source of annotation: Marvin or Ruth Sackner.

The introduction to the book was written by Francis Pohl. The theme is the letter "E" which has been a favorite icon of the artist. -- Source of annotation: Marvin or Ruth Sackner.

Trasobares covered the cedar box with a wire lid that that opens like a gate to the nostalgic garden of Cornell's collage, "For Josephine," that is printed on the cover of the book, Joseph Cornell: Gifts of Desire by Dickran Tashjian. When the book is removed, the open gate reveals Cornell in his garden in Flushing, New York. In a direct reference to Cornell's assemblages, Trasobares selected an array of evocative objects for display in the box's small compartments." -- Source of annotation: Marvin or Ruth Sackner.

Organized by Arturo Carlo Quintavalle. -- Source of annotation: Marvin or Ruth Sackner.

In Lemaitre's essay, he mentions that that only 200 bound copies of Les Journaux Des Dieux were delivered for distribution because there were insufficent funds to pay him - "which of course makes the saved volumes extremely valuable." The books as well as prints and printed plates depicted in this exhibition consisted of 'Les Journal des Dieux' [The God's Diaries], 'Initiation a la haute volupte' [Initiation to High Voluptuousness], and 'Jonas.' -- Source of annotation: Marvin or Ruth Sackner.

Prudence Carlson wrote the essay for this catalogue. The Sackners attended this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Several page of this book reproduce published and unpublished concrete and visual poems. -- Source of annotation: Marvin or Ruth Sackner.

It is mentioned that Gordon's work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition by Lora-Totino consisted of 48 works, one depicted on each page. -- Source of annotation: Marvin or Ruth Sackner.