The writer describes the scene at the London Artists' Book Fair at the Barbican Centre in November 1997. He stresses the increased appreciated value of artist books, particularly those done by Ian Hamilton Finlay and Bob Cobbing. Writing about Cobbing, he mentions that "His Domestic Ambient Noise" series, in collaboration with the visual poet Lawrence Upton, has run to 157 editions in the past three years. Their cost is 1 pound each or four for 5 pounds. Winsor states that "A rich collector in Miami [Marvin Sackner not identified!] and two assiduous London collectors have all 157." -- Source of annotation: Marvin or Ruth Sackner.

Described by Ken Edwards as "The Jackson Pollack of the office duplicator," Cobbing's historical sound poems as visual images generally without words or with almost indecipherable words (visual scores), initially made on mimeograph machines are now reproduced and remade on photocopiers. This volume of collected poems includes examples of these works. -- Source of annotation: Marvin or Ruth Sackner.

The cover was designed by Peter Manson. The final section of this book consists of annotations to the poems. -- Source of annotation: Marvin or Ruth Sackner.

Girlie poems are works or poems dedicated to 'girls' whose names, at the very least, have fascinated Cobbing. The poems are constructed as permutations, palindromes, and visual scores by overprinting. As noted by Griffiths, the simpler the score, the greater the performance potential because it allows Cobbing wider improvisation. The book reprints a large number of these poems. One copy of this book has an orange color and another a blue color. -- Source of annotation: Marvin or Ruth Sackner.

This book includes poetry and performance notes which document several published works by Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

David Barton's introductory essay describes Cobbing's work from 1942 to 1986 as the discovery of new sound and movement in poetry. The works reprinted in this book are mainly abstract xerox images from which Cobbing performs sound poetry. Examples of Cobbing's works in "Destruction in Art Movement," some of which are held by the Sackner Archive are also included. Cobbing denotes his mimeograph (a subclassification of "xerox art" in Archive) as duplicatorprints. -- Source of annotation: Marvin or Ruth Sackner.

This book includes poems of cut-ups begun in 1956. The method was to decide on the number of lines, clip out newspaper lines of the required number, and paste them up in an effective order to give an appearance of a conventional poem. This work antedates Gysin's 1959 cut-ups, usually attributed as the first to employ it. This book also includes cut-ups of earlier cut-ups, and permutations or mutations based on newspaper headlines but originating from phrases clipped from books. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing used the structure of the original book and added poems for a performance. -- Source of annotation: Marvin or Ruth Sackner.

Bill Griffiths' introductory essay explains how Cobbing has used the duplicator, ink, stencils and over-printing to create texts of shapes and textures. They "move away from word and letter as conventional symbols...into a new semantics of shape. The works in this book date from 1970 to 1976. -- Source of annotation: Marvin or Ruth Sackner.

This volume contains poetry from 1976 through July 1985. In his intoductory essay, Peter finch writes that these works are modernist in the found tradition of Duchamp. Many poems are transformed pieces of lists and information reorganized by Cobbing who also performs the poems. -- Source of annotation: Marvin or Ruth Sackner.

This box contains reprints of 17 works, mostly published by Writers Forum, including "The Micro-Pathology of the Sign," a critical text in the form of a poem by Robert Sheppard, Processual (Almost), One, Two, Notation, 3, Spin-Off, Four, Quintet, Prosexual, Novation, Double-Octave, Spin-Off Two, Nonny-Nonny, Swarf Process, Summation and Supplement. -- Source of annotation: Marvin or Ruth Sackner.

In his introduction, Eric Mottram writes that "Voice Prints is for voice performance, and looking or meditating performance...[The] poem-texts or poem-images continue Bob Cobbings's experimental achievements with many uses of words, word-orders and word designs." -- Source of annotation: Marvin or Ruth Sackner.

Richard Truhlar writes "Cobbing uses the writer's tools (typewriter, various duplicating machines, ink, etc.) to explore the word and/or letter as hieroglyph, as phonetic symbol, and as concrete graphic interaction of language image with eye and body rhythms." This volume mainly depicts typewriter poems. -- Source of annotation: Marvin or Ruth Sackner.