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Cinicolo aknowleges receipt of corrected proofs of Newcastle catalogue and mentions telephone coversations with John Cage and Bob Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This text of this book that was first published in Kontextsound in 1977 consists of an interview of Cobbing by Mottram. Cobbing discusses how he switched from composing conventional poems to sound poems circa 1963. He also makes mention of music as it relates to sound poems and his belief that avant garde musicians appropriated material from poets not vice-versa. Bob Cobbing died at age 82 years in 2002. Robert Shepard wrote the obituary in The Guardian October 7, 2002. "Bob Cobbing, who has died aged 82, was the major exponent of concrete, visual and sound poetry in Britain. Long after its international heyday in the 1960s, he continued to produce visual texts that were also scores for performance, many of them published as booklets by his Writers' Forum press, and launched at its associated workshop, which has been meeting in private houses and rooms above pubs since 1954. His work appears in many anthologies. Born in Enfield, Cobbing was brought up within that close religious...

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This issue features a cover by John Furnival, a description of "better books,' a bookshop managed by Bob Cobbing, and an article on Fascism. it is stored in the box holding Furnival material. -- Source of annotation: Marvin or Ruth Sackner.

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This letter writes that he has just found the text of the hashish poem and "thought it might fit & or something." He requests a copy be sent to Steve Abrams. -- Source of annotation: Marvin or Ruth Sackner.

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Houedard writes that he is sorry to have missed meeting Bob Cobbing in Gloshire. He writes that he "was in london fleetingly to flip thru papers at lisson - noticed several of what looked like sound poems i had collected for kroklok & some i had done myself - not sure how they got there - if you count kroklok as wf [writers Forum] work you wld have a lot of stuff - do you still have the MSS of all the oddments i have had in wf?" -- Source of annotation: Marvin or Ruth Sackner.

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Houedard's dense text comments and makes suggestions on a paper sent to Houedard by david (medella?) for his review. -- Source of annotation: Marvin or Ruth Sackner.

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The name peter is typed in red with dashes and slashes. Houedard writes that " here i am in the middle of 3 years work revising the bible (once more) - but taking time off to see the students at cardiff artcoll under patric ?nolan ?dolan." -- Source of annotation: Marvin or Ruth Sackner.

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The large P in the heading to Peter is typed with slashes and dashes. Houedard has requested mention of OULIPO to be included in Peter's Mayer's book with Bob Cobbing, 'Concerning Concrete Poetry.'. He states that his files and things have arrived from the old abbey and he is putting them in order. He also makes suggestions to study the medieval manuscripts for shaped forms and "also the covers of the new encyclopaedia iudaica has a very well done tree with hebrew alphabet leaves...the psychology of inventing pseudo hebrew & pseudo greek might be looked into." -- Source of annotation: Marvin or Ruth Sackner.

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Cobbing concludes in this essay, visual (concrete) poetry can be heard, smelt, has colours, vibrations whereas sound poetry dances, tastes, has shape. -- Source of annotation: Marvin or Ruth Sackner.

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Charles Cameron writes that these pages are "numbered by hand, with many dsh correx + typesetter's markups for 'the flip side of language' -- looks like it might be dsh's entry for the issue of the Oxford mag ISIS on concrete poetry which I edited, but I don't have a copy for comparison & it's hard to say..." This essay appeared in ISIS No.1507, 1966, a periodical hels by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This essay is another copy of the manuscript with slightly different handwritten correctionss and appeared in ISIS No.1507, 1966, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.