This is a facsimile reissue of Industrial Sabotoge No.12. Each issue differs slightly from another in the size and shape of the pages as well as the placement of the poems on the page. The back cover is rubberstamped with the number 12 but pencil markings are placed to indicate that the numbers should be reversed. -- Source of annotation: Marvin or Ruth Sackner.

This is a facsimile reissue of Industrial Sabotoge No.12. Each issue differs slightly from another in the size and shape of the pages as well as the placement of the poems on the page. The back cover is rubberstamped with the number 12 but pencil markings are placed to indicate that the numbers should be reversed. -- Source of annotation: Marvin or Ruth Sackner.

Also designated one cent #150 and Toybox #12. the cover was designed by jw curry. -- Source of annotation: Marvin or Ruth Sackner.

Also designated pomez a penny #78. -- Source of annotation: Marvin or Ruth Sackner.

Also designated th wrecking ballzark #65. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Hangnail #9. -- Source of annotation: Marvin or Ruth Sackner.

Also designated th wrecking ballzark #56. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Toybox #9. The pages have found 19th century photographs and drawings with imagined captions that relate to the theme of the voice. -- Source of annotation: Marvin or Ruth Sackner.

Also designated Toybox #9. The pages have found 19th century photographs and drawings with imagined captions that relate to the theme of the voice. -- Source of annotation: Marvin or Ruth Sackner.

The year of publication rubberstamped as 1982 is in error. Also designated pomez a penny #97. -- Source of annotation: Marvin or Ruth Sackner.

This anthology Includes reprints of a selection of curry's publishing activities focusing on his rubberstampings of minimalistic and concrete poems of his own and his circle of poets. Dean comments: this making precious of the single poem was the result of necessity as much as esthetic deliberation; curry published within a finite small budget. This could have caused poor-quality production, i.e. Gestetner, offset or xerox. Instead it resulted in hand-stamp, hand-set rubber type, as his chosen (& unique) means of publication. His scaled down book remained both anarchic and typographically refined. -- Source of annotation: Marvin or Ruth Sackner.

This is the layout for a poster announcing a poetry reading at The Abbey Bookshop. The background is a page from a porn magazine. According to a letter written from curry to the Sackners, about 75 were made but Ross' "feet got chilly" and most ended up destroyed. Ross made his own poster for the event to curry's dismay. Writing in 1994 to the Sackners, curry was sorry that the poster was not used since this was "a hilarious poke at The Abbey, a venue as staid as they come, bound in the honourable chains of hypothesized tradition." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue lists the publications of Mark Laba. jw curry also provides a brief biographic sketch and mentions that his work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue lists the publications of Stuart Ross including Proper Tales Press. jw curry provides a brief biographic sketch. -- Source of annotation: Marvin or Ruth Sackner.

In this unpublished photograph, the setting was done by curry, the object by Laba, and the photography by Venright. -- Source of annotation: Marvin or Ruth Sackner.