Poem object has the shape of an alligator; across the body is written the Russian word "oobopshbambo" which means "just a little jazz. -- Source of annotation: Marvin or Ruth Sackner.

This book is a tribute to a trip with Sarah to Pyramid Lake. The final word in the "Reno Crossing" section - 'ghosted' - is tied to the final word in the "Pyramid Lake" section - 'Wodziwob' - as the latter was the first one who dreamed what came to be known as the Paiute Indian "Ghost Dance." "Pyramid Lake" is a Paiute spirit lake. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent an artist book by Jack Hirschman to this exhibition, which was organized under the auspices of the US Information Agency to tour Africa. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive lent an artist book by Jack Hirschman to this exhibition, which was organized under the auspices of the US Information Agency to tour Africa. -- Source of annotation: Marvin or Ruth Sackner.

This work tries to evoke the motion of the bird. -- Source of annotation: Marvin or Ruth Sackner.

In addition to conventional poetry, fragments of words derived fom the menu of a San Francisco mission restaurant are utilized. -- Source of annotation: Marvin or Ruth Sackner.

Poem written for National Poetry Festival October 17, 1989 which was cancelled because of the San Francisco earthquake. -- Source of annotation: Marvin or Ruth Sackner.

Hirschman's first response to San Francisco earthquake. He wanted a "stone" effect because the "idea of stones falling on one has been the greatest fear of all around these parts; thus, the spackle, texturing..." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book were written 1972-1973. The cover and illustrations within the book were done by Soheyl Dahi. -- Source of annotation: Marvin or Ruth Sackner.

Images on inside of box painted on plastic foam are enlargements of graffiti observed by Hirschman on San Francisco subways. -- 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.

Since his last communication to the Sackners, Hiroshima & Nagasaki Days have come & gone, he wrote these haiku in relation to those days. -- Source of annotation: Marvin or Ruth Sackner.

Book deals with a recent encounter with a homeless person and their cardboard existence. -- Source of annotation: Marvin or Ruth Sackner.

The poems in this book were written 1972-1973. The illustrations within the book were done by Soheyl Dahi. -- Source of annotation: Marvin or Ruth Sackner.

The title is derived from a line by Antonin Artaud. Hirschman states "This book focuses on gesture of line, color, and letters. There's a poem and then there's not a poem in this book. The words are crossed through by the paint, and vice-versa - intentionally to reflect the jangling about of sensibility during this time." (Gulf War) -- 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.

According to Hirschman, the title derives from four Mayan words: Nup=unite(d), Chal=mend, sew together, Han=clear, clean, Buk=heart. He thought of this as a marraige gift since the words can be read as Nuptial Handbook. -- Source of annotation: Marvin or Ruth Sackner.

Deals with the issue of the "atrocity reports of the Iraqis...to the exclusion of all the people we had destroyed..." -- Source of annotation: Marvin or Ruth Sackner.

The title of this book is a double entendre. It is a love poem superimposed on a background of King Solomon's alphabet. The poem closes with "Plum Bananas Over You." -- Source of annotation: Marvin or Ruth Sackner.