Scope and Contents Charles Bernstein writes in the introductory essay that "Figuring the Word" is a wide-ranging collections of Drucker's essays in which she "presents herself as a visual artist, a literary writer, a scholar/historian, and an aesthetician. In all these areas, Drucker has made substantial contributions. But it is her synthesis of these fields that is her most extrardinary achievement." Chapters of collected essays in the book include Writing as Artifact, including a section on hypergraphy and Maurice Lemaitre; Visual Poetics; Artists' Books Past and Future; The Future of Writing; Personal Writing. In the section "The Interior Eye: Performing the Visual Text," Drucker traces visual poetry in the perfomance work of Massin & Ionesco's "The Bald Soprano," Tzara's "Boxe," Marinetti's "At Night," Iliazd "Lendentua as Beacon," and Gomringer's "Ping Pong" and other icons of visual poetry.In the section, "Iliazd and the Book as a Form of Art," Drucker discusses and/or illustrates the...

Scope and Contents This book is a semi-autobiographical novel dealing with romance, self revelation, and poets and writers in her life while she lived in San Francisco bay area as expressed with "tour de force" experimental typography and layout. Drucker purchased a variety of cold typefaces for letterpress printing and set out to use the entire set in writing this book. As a reviewer writes, "Linguistic architecture in the personal voice as manifest in particular elements of vigorous typographic representation." In a personal communication to the Sackners, Drucker stated that 100 copies were intended but only 96 were actually collated.The following explanation of the book as copied from a 10 typed page letter, dated January 1979, addressed to Mr Groenendijk, a collector living in Amsterdam, is reproduced below. This letter is held by the Sackner Archive - the Sackners sent a copy to Johanna Drucker after a personal communication revealed that she did not have a copy in her possession.I did this book...

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book encompasses at least four non-sequential story lines as denoted by a typographic style for each one. One phrase in the book may have originated from a conversation that Marvin Sackner had with Johanna Drucker, "Meyer Lansky read the dictionary and the Rand reports." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In the introduction, Saiber describes Bruno as a 16th century polymath who was a philosopher, poet, playwright, mnemonist and magus but at his core an architect of ideas. Saiber further adds that "Many among the educated class familiar with esoteric learning, like Bruno, looked to locate and empower themselves through spacial manipulation and symbloic permutation, such as memory theaters. encyclopedias, kabbalah, natural magic, alchemy, and searches for the 'perfect language.' Bruno's writing indeed contains verbal patterns that signal an unusual sensibility to the shape of of space - whether of the heavens, between people, on a page, or of one's mind." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Graphic Design History traces the social and cultural role of visual communication from prehistory to the present, connecting what designers do every day to a history of innovative graphic forms and effects. The contents of this book include the following chapters titled Early Writing: Mark-making, Notation Systems, and Scripts - Medieval Letterforms and Book Formats - Modern typography and the Creation of the Public Sphere - the Graphic Effects of Industrial Production - The Culture of Consumption - Corporate Identities and the International Style - Postmodernism in Design - Digital Design. The book includes an extensive glossary of terms, a bibliography and a list of image credits. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Subtitled "explorations of an uneasy relationship." this book consists of essays related to the title. Paul Elliman's essay deals mainly with the books by Georges Perec. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Comprises the text of the poem embossed on lead pages in the artist book of the same title which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was critically reviewed by Marjorie Perloff in Harvard Library Bulletin Vol.3 No.2, 1992, a periodical held by the Sackner Archive. This is the trade edition of the book that was first printed in a limited edition of 70 copies in 1990. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was critically reviewed by Marjorie Perloff in Harvard Library Bulletin Vol.3 No.2, 1992, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The piece has writing on it in two places, reading, "I was a trophy wife" and "After us the savage god."

Scope and Contents

Includes several statements concerning visual poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Brad Freeman reports on "Artist's Books/Book-Like Objects" in his essay in this inaugural issue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Drucker comments in her catalogue from the exhibition at Printed Matter that this was written in her Punk Phase. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The reading of an essay by Johanna Drucker in this issue, "Letterpress Language: Typography as a Medium for the Visual Representation of Language" led the Sackners to contact Drucker and begin their long friendship and collecting of her works. -- Source of annotation: Marvin or Ruth Sackner.