The cover consists of a colored reproduction of a Hirschman's expressionistic drawing. -- Source of annotation: Marvin or Ruth Sackner.

The calligraphic drawing in ink wash of the cover was done by Jack Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

The visual poetic cover design and the four collages incorporting Hebraic texts reproduced in the book were done by Hirschman. -- Source of annotation: Marvin or Ruth Sackner.

Also designated as th unita gargoyl #1. -- Source of annotation: Marvin or Ruth Sackner.

The text of this work relates to the native American drum which Hirschman heard while attending a protest meeting for Leonard Peletier, a native American, who has been incarcerated for many years. The painting was done on the floor giving Hirschman the impression that he was doing a "sand painting." -- Source of annotation: Marvin or Ruth Sackner.

The handwritten marginalia in this magazine are printed within the texts. -- Source of annotation: Marvin or Ruth Sackner.

This sculpture shaped like a harp is a homage to the writer Isaac B. Singer whom Hirschman knew personally. Hirschman in a letter to the Sackners stated "since its total shape is like a Futurist version of a Mayan glyph, I've used Mayan motifs throughout; you'll also notice Yiddish letters scattered here and there." This imagery is not far fetched since an Englishman named Kingborough in the 19th century wrote two volumes to prove that Mayans were one of the 10 lost tribes, a theory unaccepted by most scholars. -- Source of annotation: Marvin or Ruth Sackner.

This work is also designated a Pickpocket Series #2. -- Source of annotation: Marvin or Ruth Sackner.

In his introduction ot this volume, Jack Hirschman writes, "Celan, as is somewhat known, especially in his later books of poems, writes in last-breaths, but with a zimzummed contraction that allows a line of light emerging from the holocaustic and therefore deepest silence of our epoch to touch our forked existences like a wand of witness that sounds our depths. As every day more and more of us are being driven to those voids and abysses in a 'free' world growing into a vast prison, it is hoped that Paul's words, the revolutionary enemy of triviality and indifference, fill your eyes with their millions of voices." The graphic drawings are by David Meltzer. -- Source of annotation: Marvin or Ruth Sackner.

Interview with George Herms focuses on his reprinting Wallace Berman's magazine "Semina." -- Source of annotation: Marvin or Ruth Sackner.

Interview with George Herms focuses on his reprinting Wallace Berman's magazine "Semina." -- Source of annotation: Marvin or Ruth Sackner.

Gill's paintings are sem-figurative and often incorporate minimal texts. Hischman wrote a poem deaing with the images. -- Source of annotation: Marvin or Ruth Sackner.

Cover drawing was done by Agneta Falk . -- Source of annotation: Marvin or Ruth Sackner.