This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

The prints making up this catalogue were those that were displayed as the exhibition. They were reproduced from prior publications. Several originals by Dom Sylvester Houedard, Peter Mayer, Jeff Nuttall, and Tom Phillips from this exhibition are held by the Sackner Archive. There was no bound catalogue published on this exhibition. Therefore, the totality of this catalogue is unique. The work is an excellent reference for the examples of concrete and poetry done in the 60's and 70's. Edith Kalman did three micrographic calligraphic prints that have been scanned into this citation. The pamphlet lists the location of the works displayed. The prints comprising the exhibition are stored in their own box withing the cobbing matrial. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this book reproduces a collage made from newspapers and magaziines. -- Source of annotation: Marvin or Ruth Sackner.

The edition size was probably between 300 - 400 copies. On this copy, the word "RUSH" is rubberstamped on the cover. A duplicate has the label "Rush" and a simple line drawing of a landscape. Derek Beaulieu in "seen of the crime" views this work as an early seminmal work of conceptual writing. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue has an extensive listing of Ganglia Press publications. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue offers an extensive listing of bill bissett, bp Nichol, Irving Layton, Raymonf Souster, and Gael Turnbull books among others. -- Source of annotation: Marvin or Ruth Sackner.

In this book, the poem "Quebec Bombers" as Jack David describes it, "begins with the phrase "dirty concrete poet' repeated twice, then changes to "the concrete is dirty dirty,' "sum like it clean what dew they ooo.' . . . the comparison presents the clean ordered life of a capitalist system and the dirty chaotic life of the lower classes." [Lori Emerson internet 2011]. -- Source of annotation: Marvin or Ruth Sackner.

There were 1450 copies of this book bound in soft covers and 50 copies bound in hard covers. -- Source of annotation: Marvin or Ruth Sackner.

This first edition differs from the later, revised edition in its covers, fold-outs, and the presence of an offset page. There are more rubberstamped texts and less typewriter poetry in the first edition than the revised edition. The revised edition also has pages printed in red ink whereas the first edition does not. -- Source of annotation: Marvin or Ruth Sackner.

This first edition differs from the later, revised edition in its covers, fold-outs, and the presence of an offset page. There are more rubberstamped texts and less typewriter poetry in the first edition than the revised edition. The revised edition also has pages printed in red ink whereas the first edition does not. -- Source of annotation: Marvin or Ruth Sackner.

This first edition differs from the later, revised edition in its covers, fold-outs, and the presence of an offset page. There are more rubberstamped texts and less typewriter poetry in the first edition than the revised edition. The revised edition also has pages printed in red ink whereas the first edition does not. -- Source of annotation: Marvin or Ruth Sackner.

Includes concrete poem by David UU on the breath of love, entitled "Verklarte Nacht" meaning Transfigured Night, written in the style of James Joyce with John Cage overtones with employment of neologisms. -- Source of annotation: Marvin or Ruth Sackner.