Scope and Contents Mac Low explains the compostion of these poems. ""Asymmetries" are nonstanzaic chance-generated poems of which the printed formats are notations for solo or group' performance. They are "asymmetrical" in that they have no regularly repeating stanzaic or other patterns. They are "notations" in that most aspects of their format can be translated into aspects of performance. Notably, the lengths of blank space before, between, & after single words or word strings, & between lines, stand for "temporal holes" -- durations in which readers keep silent or produce single prolonged tones on instruments that can sustain tones evenly (e.g., winds; bowed strings; reed, pipe, & electronic organs; & other electronic & mechanical sound producers). To measure these blanks, each poem page is conceived as a rectangle of which the horizontal sides are the top & bottom lines of words and the vertical sides are imaginary margin lines running parallelly thru the rightmost and...

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The poems in this book were composed by chance operations through a chart made up of words denoting of all kinds of light. The chart is at the end of the book. -- Source of annotation: Marvin or Ruth Sackner.

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This book was the winner of the 1984 Poetry Center Book Award. Many of the poems were written over the years on Bloomsday, June 16. -- Source of annotation: Marvin or Ruth Sackner.

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This book "presents a comprehensive collection of the poet's handwritten, drawn, typographic and musical notation - works composed through nonintentional methods and which operate simultaneously as visual art, literature and scores for performance." The Steven Clay, Charlie Morrow, Anne Tardos, Kenneth Goldsmith, Julie Harrison, Susan Bee, Philip Gallo and Ian Tyson participated in its performance. -- Source of annotation: Marvin or Ruth Sackner.

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The letterhead is Monks Pond. Merton writes Emmett Williams that "All the things you are making happen sound good. Or helping make happen. Yes, visual poetry. I'd like to see that exhibit in Minneapolis. When will it be?" He continues, "I'm starting on some visual stuff. Hasn't loosened up yet but I think it will start to break soon. If only we had some more type here and the monastery printer had more time we could really do something about it." In a postscript, Merton adds a handwritten request, "Could I see a copy of the Bense reader? Looks interesting. Also the MacLow stanzas, as I am doing some, that - & Dieter Rot. Your catalog is very good. Only interesting one I've seen in a long time. -- Source of annotation: Marvin or Ruth Sackner.

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The recording consists of an interview between Charles Bernstein and Jackson Mac Low who also did a reading. Stored in box containing tape cassette periodicals of Linebreak, Recorthings and Tellus. -- Source of annotation: Marvin or Ruth Sackner.

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Andrews states that this book is divided into three sections. "The first, POSITION, sets out an overall personal perspective in a sequence of summary statements on poetics, ending with efforts to drive the question of meaning into a trajectory of social embodiment, dialog, & resistance. The second, VERB, offers a parallel record of interviews & symposia responses on a clutch of related themes, with an eye toward recharting the 'socially possible' through language & (more) radical praxis. And the third, BODY, makes a mosaic out of pieces on a variety of postwar English-language poetries & matters up for grabs in reading (& thus personally reconvening & rewriting) them." -- Source of annotation: Marvin or Ruth Sackner.

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Jerome Rothenberg wrote the introduction and Mac Low supplied notes throughout the book that documented the varied works. -- Source of annotation: Marvin or Ruth Sackner.

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Jerome Rothenberg wrote the introduction and Mac Low supplied notes throughout the book that documented the varied works. The handwritten poem on the last two pages of the book, "Ruth and Marvin Sackner," spells out the namesby a diastatic-chance method by drawing words from this book by placement of the names. For example, the first line of the poem is righteous number out nothing is obtained as follows. Righteous (page 18), nUmber (page 21), ouT (page 20), notHing (page 8). The page numbers correspond toplaces of the required letters in the alphabet: the words in stanza 1, from "018"; 2 from "118," etc. Mac Low has also handwritten a list of errata near the title page. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Publisher's Weekly review: "Excerpting from poetic, video and photographic work from over 12 years, this largish, elegantly designed book is a virtual encyclopedia of artistic techniques mostly operating within the traditions of Dada and collage (Kurt Schwitters looms heavily), Fluxus and early digital art (much of it created with Ataris), right through Language poetry, but creating a gendered, polylingual, image-enhanced reality all its own. In the epistolary dialogue with Lyn Hejinian that prefaces the book, Tardos explains her approach as being one of uncertainty: "Maybe it's a question of creating a condition of not knowing what one is about to do. Or should I say it takes enormous discipline and control to surrender control." Reflecting her nomadic European roots, Tardos also conveys a more poignant concern that her operations between media, not settling on one genre such as "poetry," may strand her in a "liminal" zone between art forms, though not outside of "art." Yet the...

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This book is an anthology of the first three volumes of the magazine "L=A=N=G=U=A=G=E" that were published in 1978. It is stored with the original issues of "L=A=N=G=U=A=G=E." -- Source of annotation: Marvin or Ruth Sackner.

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Mac Low composed the poems in this book by modifying sentences with different words by a rigorous technique in Virginia Woolf's novel, The Waves. This method was used to generate other poems from Mac Low's experiences. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Cover blurbs: This landmark collection brings together poetry, performance pieces, "traditional" verse, prose poems, and other poetical texts from Jackson Mac Low's lifetime in art. The works span the years from 1937, beginning with "Thing of Beauty," his first poem, until his death in 2004 and demonstrate his extraordinary range as well as his unquenchable enthusiasm. Mac Low is widely acknowledged as one of the major figures in twentieth-century American poetry, with much of his work ranging into the spheres of music, dance, theater, performance, and the visual arts. Comparable in stature to such giants as Robert Creeley, John Ashbery, and Allen Ginsberg, Mac Low is often associated with composer John Cage, with whom he shared a delight in work derived from "chance operations." This volume, edited by Anne Tardos, his wife and frequent collaborator, offers a balanced arrangement of early, middle, and late work, designed to convey not just the range but also the progressions and...

Scope and Contents Amazon.com: "This landmark collection brings together poetry, performance pieces, "traditional" verse, prose poems, and other poetical texts from Jackson Mac Low's lifetime in art. The works span the years from 1937, beginning with "Thing of Beauty," his first poem, until his death in 2004 and demonstrate his extraordinary range as well as his unquenchable enthusiasm. Mac Low is widely acknowledged as one of the major figures in twentieth-century American poetry, with much of his work ranging into the spheres of music, dance, theater, performance, and the visual arts. Comparable in stature to such giants as Robert Creeley, John Ashbery, and Allen Ginsberg, Mac Low is often associated with composer John Cage, with whom he shared a delight in work derived from "chance operations." This volume, edited by Anne Tardos, his wife and frequent collaborator, offers a balanced arrangement of early, middle, and late work, designed to convey not just the range but also the progressions and...