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The author analyzes metaphors used by poets from the renaissance to Dylan Thomas. -- Source of annotation: Marvin or Ruth Sackner.

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Reproduction of an Etruscian bronze depicting the liver and gall bladder found in 1877 in Piacenza. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Although his inscription alludes to a second edition, this was not meant to be. In this first edition, first printing, Higgins tells the history of pattern poetry, documenting more than 2000 works. He divides the book by chapters such as Language and Literature, e.g., Greek, Latin, Hebrew, Hungarian, Italian, French, German, Scandinavian, Dutch and Flemish, British, Hispanic, Polish, and Slavic. He also has a chapter on Languages outside European such as Far East, Citrakavyas and other Indian languages, Islamic, and Languages in which no pattern poetry has been reported. In another chapter, he descibes Acrostics, Telestics, Mesostics, Lapidary Inscriptions, Leonine Verse, Magical Inscriptions and Formulae, Mathematical Arrays and Poems, Musical Analogues of Pattern Poetry, Proteus Poems, Rebuses, Shaped Prose, and Sound Poetry. De. Herbert Francke contributes a chapter on Chinese Pattern Texts and Dr. Kalanath Jha on Sandscrit Citrakavyas. Higgins' glossary of terms follows...

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Raoul Hausmann's "sound-reel," a sound poem held by the Sackner Archive is depicted on page 146. It depicts the hand writtem added letters, signs and numbers that are often not present in other reproductions of the poem. However, it lacks the hand printed inscription of the title at its bottom and the typed R. Hausmann signature. -- Source of annotation: Marvin or Ruth Sackner.

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This book was conceived and directed by Harriet Bart and printed in collaboration with Philip Gallo. Bart writes that she searches "for ancient, small quotidian objects and early signs of writing. Countless treasures of the daily capture my imagination...Objects and inscriptions, beautiful and mysterious, carry forth their secret stories and the everyday poetry of praise." Each page of found poetry is recreated by Barth and contains a unique gilded geometric form. the binding is by Jill Jevne. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents A large micrographic Bible illustration depicting Manoah and the angel, Samson and the lion, and Samson and Delilah. The story of Samson from Judges is told in three scenes. In the first Manoah and hsi wife are visited by an Andel of the Lord, who tells them that the wife, previously barren, will conceive. Manoah makes a sacrifice on an altar which the angel miraculously causes to burst into flame by touching it with his staff. Manoah and his wife are amazed. In the middle of the image is Samson, their now grown son, killing a lion with the strenght the lord has given him. In the final scene, Samson falls asleep on Delilah's lap, soon to have his hair cut off and to be blinded. In the distance are the cities of the Philistines and the temple Samson will one day pull down. The five chapters from Judges (13-17) that tell Samson's story are given at teh bottom half of the sheet in a blackletter font, most like Textur, most of it in miniscule letters. But even more amazing is the fact...

Scope and Contents This beautifully produced catalogue was published for the exhibition in the Olin Library at Washington University by the curator, scholar and Head of Special Collections, Kevin Ray. It coincided with the exhibition and symposium "The Dual Muse: The Artist as Writer and the Writer as Artist" organized by the Gallery of Art and the International Writers Center. The Sackner Archive lent nine handwritten and typed bound volumes of Phillips' Dante manuscripts, two silkscreen prints, eleven collages from the "Dante Diary," and a typewriter work on backing paper incorporating all the words of Phillips' first translation of the Inferno. Kevin Ray contributed an illuminating essay tracing the history of translations and illustrations of Dante, including the works of Botticelli, Gustave Dore, Blake and Rauschenberg. Ray writes that in the Tom Phillips' Inferno, the artist, incorporates "much of the method he developed in creating A Humument, 'treating' an existing text and making of it...