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Foxglove, a bellshaped flower, is a basis for a grid inscribed on a stone panel that consists of a sequence of numbers to direct bellringers in 'change ringing.' Foxglove is the source of digitalis whose actions are to strengthen & regularize the he Finlay does not have this property in mind for he mentions that this grid sets out to complement the mixture of wild and formal views of the garden. Unlike a sundial, it alludes to episodic bouts of ringing that punctuate the ecclesiastical calendar. -- Source of annotation: Marvin or Ruth Sackner.

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Deals with the "mechanics" and results of collaboration between poets and writers through essays contributed by the participants. -- Source of annotation: Marvin or Ruth Sackner.

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Describes the experiences of Andrei Voznesensky as a poet in residence at the University of Pennsylvania in 1991. During that stay, Voznesensky visited the Sackner Archive one Sunday morning after a poetry reading in Miami. -- Source of annotation: Marvin or Ruth Sackner.

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Moss writes "I chose to do one of these 'step psalms', Psalm 134, in the actual form of steps. The short psalm reads: A song of Ascent / Behold, Bless God...I originally designed the letterforms I used in this work for a Ketubah. It was one in which I wanted to use the step motif...I suppose any spiritual journey is a kind of gradual, lifelong, step-like movement - ideally upward and forward but, alas, all too often with many downward and backward regressions." -- Source of annotation: Marvin or Ruth Sackner.

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Chopin mentions the death of his wife, Jean in 1985 "when everything stopped." Also, he adds a visit to Miami in 1985 (gave a performance at the Sackners that is not cited in the book. -- Source of annotation: Marvin or Ruth Sackner.

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Irene Niechoda researched over twenty years of writing by bp Nichol in his sprawling poem, "The Martyrology." The poem, which filled ten volumes, has been described as an accumulation with "shifts, twists, leaps and catapults that delight us into the unfamiliar." This survey traces the evolution of "The Martyrology" in Nichol's writing in the first two volumes, outlines a compositional chronology, and provides annotations that elucidate personal and literary references, point out intertexts, and cultural artifacts.Of note is the introductory quotation by Edgard Varese which reads, "There is no avant-garde. There are only people who are a little late." The was paraphrased by the Australian concrete poet, Richard Tipping, who composed a Caution sign held by the Sackner Archive, "There is no avant-garde, only those who have been left behind." -- Source of annotation: Marvin or Ruth Sackner.

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This work is a standing concrete poem accompanied by set-up instructions. It was made from cuttings of the previous year's Christmas cards. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This work is a standing concrete poem accompanied by set-up instructions. It was made from cuttings of the previous year's Christmas cards. -- Source of annotation: Marvin or Ruth Sackner.

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This essay traces the history of concrete and visual poetry through time and geography, including poesia visiva, fluxus, lettrisme, futurism, pattern poetry, constructivism and vorticism. It was written as an introduction to an exhibition catalogue of the four artists/poets. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This collage depicts a newspaper clipping of two photographs of Tom Phillips in France with Peter Greeneway and other attendees at an art and cinema festival. The left side of the collage depicts a drawing of a cubist head on green paper that Phillips made during one of the dinner events.The page is dated XVI.III.LXXXV. Synopsis of the 35 drawings/collages in this suite:he drawings are numbered, viz., in 4 (April, 1985), Phillips mentions having dinner with Marvin Sackner and the Ackermans in London when Marvin inspects the archive copy of Dante's Inferno. In 19, he notes sending original MS books to the Sackners. In 23 (April, 1986), Phillips recalls lunch with Marvin in NYC; in 24 he describes his exhibition at the Center for Book Arts and meeting with the Sackners. In 31 (March, 1987) he mentions meeting the Sackners in Miami and comments on Laffoley's Dante's Divine Comedy paintings (held by the Sackner Archive) through the article that appeared in Sulfur magazine. This work...

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This page depicts three word drawings in the top center and the large painted word APNAL with the P collaged over with torn handwritten papers. Canto V is framed at the bottom center and "the lustful" is written in graphite five times on the right hand side. On XXVII.XII.LXXXIV Phillips writes "Proof reading the T & H Dante with Hansjorg". The remainder of the handwritten text in green ink describes his work on a TV Dante. -- Source of annotation: Marvin or Ruth Sackner.

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This page is titled "Dante in Strasbourg" and in the upper tight hand corner there is a photogrphay of Phillips standing beneath a plaque at the house of Gustave Dore. This page contains newsprint collaged papers with photographs and text describing Phillips visit to Quimper and presentation with Peter Greenaway at the film festival. -- Source of annotation: Marvin or Ruth Sackner.

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Titled Dante in Winggield, Phillips writes that Astrid Furnival " has knitted me a new Dante sweater from the olive oil label etc." An actual label is collaged on the right side of this page next to a tag for Dante yarn. The newsprint is an advertisement of Dante's Inferno which is described "in the Sunday Times as stupendous, breathtakingly sumptous...epic...impressive limited de-lux edition took seven years to make." The handwritten dairy continues the tale of progress with a TV Dante. -- Source of annotation: Marvin or Ruth Sackner.

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This page is titled " I have measured out my life in coffee spoons." It contains cards, menus, bills with Phillips writing who was with him at each location. -- Source of annotation: Marvin or Ruth Sackner.

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The word Lustful is painted on the center black background with the German word Libestod up side down on the top portion and Lust on the side of the page. The top center contains the lines " Oh Ovid Byron Mills & Boon - Bring me another. Make it soon" -- Source of annotation: Marvin or Ruth Sackner.

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Titled "Dante in Rotterdam" the upper left corner contains a map of Holland. At the bottom center is a photograph of Phillips wearing his Dante sweater knitted by Astrid Furnival at Angela Flowers Gallery celebrating the publication of Dante's Inferno by Thames and Hudson. In the center section there is an ink sketch for the Quimerexhibition catalogues. The top right contains an invitation to Phillips' lecture "Dante: From Folio to Video" at the Byam Shaw school of Art. -- Source of annotation: Marvin or Ruth Sackner.

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Titled "Dante in Cambridge" this page contains a map that Phillips has annotated with his particular visits including book shops, Trinity Hall and King's College Chapel.The newsprint piece is of a medieval bound copy of The Divine Comedy which reminds Phillips of Richard Minsky's projected version. Phillips writes that Brian Eno is keen to do the music for a TV Dante . -- Source of annotation: Marvin or Ruth Sackner.