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This advertisement includes text for Curvd H&Z, th wrrecking ballzark, pomez a penny, and sticky lights. The found poetry was taken from comic strip captions. -- Source of annotation: Marvin or Ruth Sackner.

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The cover image, that was done by bp Nichol, was published in rawculture in sep 71. This card, reproducing that image, was sent to individuals who have helped curry with his ongoing book on bp Nichol, "CYCLOPOEDIA BEEPLIOGRAPHIA." -- Source of annotation: Marvin or Ruth Sackner.

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Was printed in an edition of 25 copies for a proposed anthology to be edited by jw curry and K.G. Higgins that fizzled. The 20 remaining copies were destroyed. -- Source of annotation: Marvin or Ruth Sackner.

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This anthology consists of a selection of visual and concrete poems with emphasis on typewriter poetic images. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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With exception of the 1st page that curry has written in red ink, the remaining pages are carbon copies of the letter sent to David UU. curry wrote the Sackners that he retained a photocopy of the carbon copy for his own files. The letter deals mostly with UU's typewriter poetry book, High C. curry sketches the pages for the book after the poems by UU. He annotates and makes comments for each page. In the last 1/3 of the letter, he writes to UU on progress of projects in which both are involved. -- Source of annotation: Marvin or Ruth Sackner.

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curry traces the development of concrete and visual poetry in Toronto for an essay in Cross-Canada Writers' Quarterly Vol.9 No.3-4, 1987, a periodical held by the Sackner Archive. He lists Earle Birney's book entitled pnomes jukollages and other stunzas 1969, as the first concrete poetry by a main stream Canadian poet. He comments that bp Nichol's 1st book, Cycles etc., 7 Flowers Press, were chant structures that relied heavily on visual sonic similarities between words. -- Source of annotation: Marvin or Ruth Sackner.

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curry then briefly comments on Toronto poets and their activities in concrete, visual, and sound poetry up to the time of publication of the essay in 1987. The 2nd version of the manuscript was submitted for publication to Cross-Canada Writers Quarte In the Afterward written for Innovations in 1989, curry corrects errors in the original essay and comments upon younger poets not mentioned in the earlier essay, e.g., Daniel f. Bradley, Steven Smith, Gary Barwin, Stuart Ross, Steve Venright, -- Source of annotation: Marvin or Ruth Sackner.

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The handwritten manuscript consists of a bibliography for the essay and the afterward contribution to Innovations. The typed version was submitted to Innovations as the final version. It included reprinting the original essay with corrections publish in Cross-Canada Writers Quarterly in 1987 and the new afterward and bibliography. curry in a letter to the Sackners complained of editing by Innovations 1 & CCWQ 9:3/4, magazines in which this version appeared; both omitted his bibliography. -- Source of annotation: Marvin or Ruth Sackner.

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As indicated in the handwritten leaflet, this project was done for a publication that wanted "nonrepresentational line work a la Caruso but not limited to line stacking." Several examples of Barbara Caruso's drawings are held by the Sackner Archive. curry placed a perfect square in the drawing's center surrounded by a circle, rectangles or a partial rectangle, all formed with blue inked straight lines or cross hatched lines. None of these drawings, which have optical effects, were published. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents curry writes that Underwhich Editions began in 1978 as a consortium of publishers and poets gathered to publish the catalog for the 11th International Festival of Sound Poetry held in Toronto 1978. The group comprised Dean, Nichol, McCaffery, Truhlar Riddel, S. Smith, Dedora, & Dutton. Their first publication edited by McCaffery & Nichol was "Sound Poetry A Catologue," released in time for the festival. The audiographic series began in 1979 with seven titles emphasizing sound poetry up until 1983. Through the influence of Truhlar, music was introduced into the listings after 1983. curry provides an annotated bibliography of the recordings that were published as well as a three tape cassette bp Nichol recording of The Martyrology Books I-IV that was never published. This archive contains two similar versions of an introductory essay, one entitled "Cultural Clutter: The Needle, The Works," the other, "Needling Theehead with a Laser: Inder Which Works." -- Source of...

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The drawings are a sketch for a wall hanging and consist of a geometric arrangement of the letter "H." One of them is done free hand, the other with a straight edge. Repetitions of the letter, "H," were frequently used by bp Nichol in his concrete poems. -- Source of annotation: Marvin or Ruth Sackner.

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This unpublished story is about a man having a dream with a tapeworm emerging from his mouth. -- Source of annotation: Marvin or Ruth Sackner.

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curry drew the word "received" three times in different fragmented forms.The poem was published by Gronk/Psycho Potato. -- Source of annotation: Marvin or Ruth Sackner.

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The drawings were traced from the second design sketches. The work was later published as grOnk Random Number Series 3. -- Source of annotation: Marvin or Ruth Sackner.