In a personal communication to the Sackners, Cameron states that is a sort of love mandala for the eve mentioned in several of the dsh poems you have, typed originally with red & black ribbons and blue and black carbons on an Olivetti 22 in 1964, photocopied years later, transferred to an internet paint program, and not yet by any means restored to its original beauty. I'm including it to give you an idea of where I would start from, in an attempt to derive new variants on this work using the best of contemporary graphical tools. Compared to the original -- which may be hiding somewhere in my storage unit -- it is very very far from the beautiful poem I originally produced, or from whatever satisfactory variants I may yet provide. -- Source of annotation: Marvin or Ruth Sackner.

dsh mentions henri chopin and mlke weaver (whom he does not know). He writes about his first meeting with charles cameron. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. In a personal communication to the Sacknsrs, Cameron comments 'saccade invites the very eye movements it described. As a separate piece it is original 2013, but it first emerged in a poem about Laura del Sol in the film Carmen by Carlos Saura, in 1983. The poem was a standard lyric poem (words, music and meaning foremost) about the beauty of the dancer, seen through the eyes of a student of cinema, and using some concrete poetry insights in its form. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter.This is a tribute to two fabled cities of the orient, as rimbaudelaire is to two French poets. I've been playing with the two names since the 60s, but the version seen here is my first actual typestract based on them, original 2013. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter.This is a tribute to two fabled cities of the orient, as rimbaudelaire is to two French poets. I've been playing with the two names since the 60s, but the version seen here is my first actual typestract based on them, original 2013. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. Cameron comments that this work is both (obviously, as is) a visual poem and, (less obviously) the score for a choral prose reading aloud, in which an alchemical transformation between vegetative and metallic elements is accomplished as we transition from trees (higher voices) to metals (lower) -- and perhaps back up again. It has always struck me that a poet would be as interested in adjacent names (in this case, silver birch and copper beech) as in adjacent trees. If I was reporting a country walk, birch and oak might be the two trees that caught my eye -- but as a poet, birch and beech, with their corresponding metallic adjectives, would be far more resonant. This copy printed 2013 from a computerized version in HTML, late 1990s, after a typed original -- almost impossible to reproduce at this point -- back in the early '80s. -- Source of annotation: Marvin or Ruth Sackner.

Composed on an IBM Selectric typewriter. In a personal communication to the Sacknsrs, Cameron comments 'a companion piece perhaps to Apollinaire's "Il Pleut des voix de femmes" -- and perhaps strikes me particularly because as a Brit born and raised, the idea that fall (US) is a season (ie autumn, UK) is new and fresh to me -- so from spring to fall offers both a seasonal and a watery connection. Original ca 1780-1982, this copy 2013. -- Source of annotation: Marvin or Ruth Sackner.