Scope and Contents

In the introduction, Studley writes, "...each designer chose a short passage from Cage's selected writings containing the composer's views on music. Each selection was then studied for possibilities of wordplay, subrosa meaning, graphic and musical n visual and aural texture, white spaces as examples of tacit in music, intonation and cacophony of sound. Solutions are based on the individual's 'reading' of the text but shaped as a typographer would arrange letters, words, spaces on a page..." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The binding is by Alice Vaughn who left the vertical sides uncovered and used a partial slipcase to protect one vertical side. -- Source of annotation: Marvin or Ruth Sackner.

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This book deals with excerpts from mystery writers and is unrelated to the collaborative works made by the Surrealists with the same title. The perforations of several pages are intended to simulate bullet holes. -- Source of annotation: Marvin or Ruth Sackner.

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The numbering of this publication did not follow the order of the others owing to an addition to the original listing by the press. This is the second book dealing with Wittgenstein's theories by the press - see No.12, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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On each page, the student has rendered a typographic composition within a rectangle, 10.2 cm x 7.2 cm (and sometimes overflowing outside these limits). -- Source of annotation: Marvin or Ruth Sackner.

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This collection of prints, done in black, printed, typefaces of varied dimensions, was a student project. The instructor for the class was Vance Studley. The writings were excerpted from Ray Bradbury's stories. A chronologic numbering system for this publication has been adopted by the Sackner Archive; no numbering system has been used by the Archetype Press. Alice Vaughn made the bookbindings for the issues through 2009. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In the title, Bory indicates his debt to the calligrams of Apollinaire. This archive includes preliminary drawings and collages for the book with the same title as well as corrected galleys. -- 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.

Scope and Contents

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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The manuscript is a typed version of the booklet. The first two additional stapled pages provide instructions to the Stellar Press as to its layout. Another two pages give instructions on revisions to the layout after Finlay's receipt of the first proof copy. The layout was modified from an earlier booklet "A Pretty Kettle of Fish" (1974) to demonstrate it to the printer, viz., a cover drawing indicates the desired placement of the cover photograph and the title typeface. Finlay also furnishes drawings for the inside photographic layout. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In March 1973, Finlay writes to Stephen Bann to compliment him on an account of a Tarasque weekend and to discuss a poem in French by Claudel, from "100 Phrases for Fans," that had been translated and sent to him by Edward Lucie-Smith. He encloses a copy of this poem which he retyped with his own modifications as well as a letter from Smith. Finlay requests Bann's opinion as to the appropriateness for him to interpret the poem's layout as a sundial inscription and of Finlay's rendition. Still in March 1973, Finlay writes to Edward Lucie-Smith for clarification of Claudel's poem that he had sent to Finlay previously. The poem reads Fan (opposite page), Poems written upon the breath. Finlay asks Smith as to why "Fan" is on the opposite page and why the words have been split. Finlay wonders whether the disjointed words equate to a fan-picture when the fan is closed and if the phrase in the poem, "written upon a breath" signifies that the fan makes a little breathing. Bann responds to...

Scope and Contents

In May 1973, Finlay writes Norman Cherry, a jewelry designer in Kelso, to make a brooch using his Schiff (German word for ship) poem composed for the Stuttgart Max Plank project. He offers several designs including Schiff depicted as a reflection in a pool which is ultimately accepted. The two exchange letters on the progress of the work which is completed in Aug 1973. A letter dated Nov 1973 from Finlay to Buchwald, architect of the Stuttgart project, offers the silver brooch for sale. -- Source of annotation: Marvin or Ruth Sackner.

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The drawings consist of architectural sketches for a Student Refectory that was unrealized by the Wild Hawthorn Press. One of the Lyle letters also includes an ink sketch for "Sea Stones" also an unrealozed project. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In Sept 1972, Finlay enters into correspondence with Jurgen Brenner, a German architect, about a commission for an installation within a garden at the Max Planck Institute in Stuttgart. He selects Costley as the calligrapher and artist for the preparatory drawings. He writes Brenner that he wants "free-drawn letters...as opposed to rigid typographic letters. I consider it essential that poems that people are going to see every day, are verbal/visual/decorative, rather than (as it were) merely literary." In Nov-Dec 1972, Finlay sends instructions to Costley about execution of the sculpture for the installation. The poems in English & German include tile murals, Wave/Rock, Wave, Star/Steer, Sails/Waves, and, sundials, Sea/Land. He follows this up with suggestions for Latin & French versions. Finlay's 2nd list of poems include Schiff, Ark/Arc, Homage to Seurat, Cloud, Gourd (together with Nuclear Sail & Fountain/Sphinx), Set of Wild Stones, and The Colours of the Vowels....