This is Andrews third book. The poems are composed with clusters of single and fragmented words whose content anticipates Andrews' more developed language poetry style. An introductory manifesto describes this new poetry. The cover design incorporates typed concrete poetry on th back cover. -- Source of annotation: Marvin or Ruth Sackner.

Of 42 copies published, 30 were distributed to the friends of author and publisher; only 12 were sold to the public. -- Source of annotation: Marvin or Ruth Sackner.

These loose sheets and pages consist of sketches and revisions of the 1st draft. -- Source of annotation: Marvin or Ruth Sackner.

This is the poet's first or second book. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this book is a collaborative poem. -- Source of annotation: Marvin or Ruth Sackner.

The dense poetry is described by Peter Ganick as "pure poetry...not of music, nor words...with something of meaning...with stunning conclusions.......Leftwich has created here a living entity...not to be missed for its reality." -- Source of annotation: Marvin or Ruth Sackner.

This is the first book published by Andrews. In it, he provides a definition of language poetry, viz., a) fragmentation and quality of words other than (and along with) their meaning, b) stress on texture, sound, rhythm, space and silence, c) less "content" (in the old sense) but hopefully the "language" becomes the content and d) the "individual" words have meanings and associations but these are not yoked together and aimed "outside the poem" at a single externally applied meaning for a poem as a whole. -- Source of annotation: Marvin or Ruth Sackner.

The typographic layout approaches concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

The typographic layout approaches concrete poetry. Bernadette [Mayer] heads The Poetry Project in NYC. -- Source of annotation: Marvin or Ruth Sackner.

This is a tour de force of mainly language and performance poetry. Frazer utilizes the word, "glossolalia" in a number of the poems. This is defined as strings of meaningless syllables made up of sounds taken from those familiar to the speaker and put together more or less haphazardly .... Glossolalia is language-like because the speaker unconsciously wants it to be language-like. Yet in spite of superficial similarities, glossolalia fundamentally is not language. -- Source of annotation: Marvin or Ruth Sackner.