This is a reprint of an article on the contemporaneous state of concrete poetry in the UK. -- Source of annotation: Marvin or Ruth Sackner.

The theme of this poem deals with Zen and an afterlife place whose description was inspired by the Tibetan book of the Dead. The poem has five parts; the first two which were published in 1965 have been extensively revised and three parts added. The latter are bound upside down. Three drawings are reproduced in the book. The cover, a watercolor by levy, has a darker, more developed structure than the other copy of this book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poems are usually printed two to a page with square dimensions. The poems appear to differ from those published in the book titled "Number Poems" by Collective Effort Press in 2000. -- Source of annotation: Marvin or Ruth Sackner.

The poems are printed two to a page and usually with square dimensions. -- Source of annotation: Marvin or Ruth Sackner.

This is the finished drawing for the printed Christmas card with the same title. It was partially typed and then Smith drew over the typed characters in blue ink. -- Source of annotation: Marvin or Ruth Sackner.

This is a preliminary drawing for the printed Christmas card with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This is a preliminary drawing for the printed Christmas card with the same title. -- Source of annotation: Marvin or Ruth Sackner.

This is the printed Christmas card (1957) sent to William Jay Smith's friends. -- Source of annotation: Marvin or Ruth Sackner.

Listings on the pages are taken from the names, port registration letters, and code numbers of Olsen's Fisherman Nautical Almanack. The spelling of Olsen with an "e" rather than with an "o" as in the name of the American poet is deliberate. Olson drew much of his poetic material from Boston fisheries. Images in this book on pages facing the listings are photographs of fishing boats. According to Finlay (flyer), this juxtaposition is a "found collage" in the style of Schwitters. -- Source of annotation: Marvin or Ruth Sackner.

The poem is set in short phrases on the vertical axis of tightly, rolled scroll with occasional diagonally printed phrases of concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

In Daniels' book, "The Gates of Paradise," this poem is printed on page 8. The shape is that of the lower half of a New York man's body peeing on the sidewalk. The last word of the title together with the urinary stream documents this shape, "New Yorkers Pissing on the Sidewalk." -- Source of annotation: Marvin or Ruth Sackner.

The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

The poem includes faint graphite markings, -- Source of annotation: Marvin or Ruth Sackner.

The poems are triangular shaped. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive also holds the book that describes the basis for the prints. -- Source of annotation: Marvin or Ruth Sackner.

In Daniels' book, "The Gates of Paradise," this poem is printed on page 11. The shape is a mandala that surrounds a triangle (from the words in the poem, this signifies a pubic triangle). -- Source of annotation: Marvin or Ruth Sackner.

Coblentz expresses highly negative feelings about contemorary poets writing experimental and concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition of Finlay's works is based upon the painting by Puvis de Chavannes entitled "The Poor Fisherman." -- Source of annotation: Marvin or Ruth Sackner.

Using ambient language"-fragments, excerpts, stage directions, echoes, conversation snippets, syntactic undulation, and rigorous sonic chaos -- Edwin Torres creates an alchemy of language, what he calls "electrobabble" and "algorithmictotem." Amid the fast-paced frenzy of his lyrical style, Torres finds an excited reason for hope and purpose: "one by one/ the rhythmic yuwanna/ will climb the fearist/ the murmuring yugottit/ will find the liminal/ the metronomed howboutit/ will catch the kicker." Amid such restless verbal motion, things will happen, things must happen; as order will emerge from disorder, a sense of calm gradually suffuses THE POPEDOLOGY OF AN AMBIENT LANGUAGE. "This all impossible/ But I appear it on page, so/ Becomes possible on way-through page." This book is also designated Atelos 29. The front cover title contains colored letters PAGE. -- Source of annotation: Marvin or Ruth Sackner.

Ths publication of the book coincided with an exhibition of Finlay's printed works at the Marfa Book Company in Marfa, Texas. It was entitled "Ian Hamilton Finlay: A Selelection of Printed Works." All the works displayed in this exhibition are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.