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angelBuds might be John and Wendy Sharkey. Houedard's rants on concrete poetry and homosexual thoughts on page one. He writes that John Furnival is making a motorisation of his POND - FROG - PLOP poem and discusses different typewriter companies on page two. -- Source of annotation: Marvin or Ruth Sackner.

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The message has been written on the verso of a photograph b&w depicting a visual poem by Furnival done in 1964. Furnival mentions that Mike Weaver was slightly peeved by Edwin Morgan's talk which leaned heavily on his "Image" article without giving Weaver credit for it. -- Source of annotation: Marvin or Ruth Sackner.

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Series is edited by Alec Finlay. The poems mainly consist of words in Spanish and a Scottish dialect whose meaning has been altered by insertion of one to three letters in small typeface within words printed with a large typeface, e.g., PEnSAR, PaiENSE, etc. -- Source of annotation: Marvin or Ruth Sackner.

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The body of this letter deals with making an introduction to John Furnival and dropping names of concrete poets prominent on the international scene. The left margin has several concrete poems by Houedard typed in black ink. Houedard typed his name at the bottom of the letter by forming each letter by overtyping the letter 'e'. -- Source of annotation: Marvin or Ruth Sackner.

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This pamphlet served as the preliiminary version of the work with the same title (1967) published by Brian Lane for his Project 67, Gallery Number Ten seriess. It was designated as No.127 in Rogers amd Cutts' book, "The Printed Performance Brian Lane Workks 1966-99." The latter consisited of 30 newspaper poems that were printed in letterpress and lithograph. The poems printed on the pages are clippings of a sentence or fragments of a sentence from newspaper articles and given a title by Morgan. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The sentences of this poem are appropriated from the texts of famous authors who are credited on the back of the folder. William Allen: Folded publication with an enigmatic 'punctuation' design, of an exclamation mark, a question mark, a comma and a full stop, printed on the cover in black on white stock; contains four loose leaf sheets slipped inside, printed in a variety of colours on cream stock, with a poem on each page dedicated to one of these grammatical symbols: from each 'mark' the words - plagiarized from various canonical texts - spiral outwards, thereby creating a visual poem of dispersed and fragmentary text. The colophon has been printed on the back of the folding cover, which includes linear transcriptions of each of the poems; such as in "!": 'you're nothing but a pack of cards: Lewis Carroll, Alice in Wonderland /goats and monkeys: Shakespeare, Othello / oh that those lips had language: William Cowper, 'On the Receipt of my Mother's Picture out of Norfolk.' --...

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Cobbing discusses the early concrete poems of Ian Hamilton Finlay, John Furnival, Kenelm Cox, Dom Sylvester Houedard, and Tom Edmonds in depth. This essay is unbpubished. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by d.a.levy. This booklet consists of a concrete poem which employs Scottish words that deal with the docking maneuver for a ship in harbor. -- Source of annotation: Marvin or Ruth Sackner.

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The distribution to others of this work is unknown. The original typed poem, "Sonic Water" is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The poem was written by Morgan in December 1965 and was printed in his Collected Poems 1996. -- Source of annotation: Marvin or Ruth Sackner.

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This card prints combination words in a vertical listing as a spoof on the powers of a computer, e.g., |jollymerry|hollyberry|jollyberry|... as |MERRYCHR|YSANTHEMUM|. -- Source of annotation: Marvin or Ruth Sackner.