The poems by Kohav were translated by Hirschman. The covers were drawn by Tom Loretta and the figurative line drawings within the book by Tom Loretta and S. Kaner. -- Source of annotation: Marvin or Ruth Sackner.

The poems by Kohav were translated by Hirschman. The covers were drawn by Tom Loretta and the figurative line drawings within the book by Tom Loretta and S. Kaner. -- Source of annotation: Marvin or Ruth Sackner.

The poems by Kohav were translated by Hirschman. The covers were drawn by Tom Loretta and the figurative line drawings within the book by Tom Loretta and S. Kaner. -- Source of annotation: Marvin or Ruth Sackner.

This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

This story about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. The first 22 copies were signed by Hirschman; this copy is signed and inscribed but is out of series. The design and typography were done by John Brandi and Harold Schwarm. -- Source of annotation: Marvin or Ruth Sackner.

This story is about a day spent driving an automobile on a Los Angeles freeway was designed in the style of Mallarme's Un Coup de Des. The Sackner Archive also holds the archive for this work. One typed manuscript has the layout but not the typographic appearance of the published work. The other two that are handwritten provide that appearance. The basis for the writing of this work is discussed by Hirschman in Kulchur No.14, a periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is a political poem dedicated to the Soviet army by Robert Rodzhdestvensky that was translated by Hirschman so that the English and Russian versions stand side by side. It appears to be printed on light sensitive brown paper. -- Source of annotation: Marvin or Ruth Sackner.

The poem was printed by hand in the style of Iliazd's early futurist poems. -- Source of annotation: Marvin or Ruth Sackner.

Thanegash refers to Thane Gash, a football player for the Cleveland Browns, who inspired Hirschman to become a football fan. -- Source of annotation: Marvin or Ruth Sackner.

Cotter reviews "The Next Word" at the Neuberger Museum of Art to which the Sackner Archive lent 25 books and pictures. Several of the works from the Archive are specifically described in the article including a manuscript by Jack Hirschman, a drawing by Anne Wolf, Emily McVarish's pasted-up words locked inside a metal frame, Paula Scher's "Opinionated Map: Central and South America" in which every inch on the Southern Hemisphere that is jammed with critical annotationt. "Elsewhere, the printed text, often taking a cue from advertising, comes to the fore. Blair Seagram's 'U Temp est Us' uses a sleek sans-serif type, offbeat spacing and shifting character sizes to hide phrases within other phrases." -- Source of annotation: Marvin or Ruth Sackner.