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.

Although Cobbing is not generally thought of as producing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former expalanation. -- Source of annotation: Marvin or Ruth Sackner.

Although Cobbing is not generally thought of as composing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former explanation. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing provides handwritten instructions for reading and ordering the sequence of each part of the poem, e.g. slow to lively, slow solemn, quick lively etc. -- 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.