The subtitle of the book is "My adventures with Homer, Rousseau, Woolf, and other indestructible writers of the Western world." The author describes his mature reaction to the Great Books course at Columbia University thirty years after studying these literary masterpieces as a college student. -- Source of annotation: Marvin or Ruth Sackner.

Perhaps the most inclusive exhibition of this period ever mounted. -- Source of annotation: Marvin or Ruth Sackner.

The works of Ian Hamilton Finlay are featured in this book especially in the chapter entitled, "Word and Image in the Garden." -- Source of annotation: Marvin or Ruth Sackner.

Contains reproduction of a drawing (p.25), "Takka-Takka," which depicts two aerosol paint spray guns and the caption, "The exhausted artists, unheeded for five and six days at a time, always hungry for fame and glory, suffering from toxic vapor inhalation, kept painting!!" -- Source of annotation: Marvin or Ruth Sackner.

This catalog celebrates the 125th anniversary of the Grolier Club with a display of work by members active in the field of printing, book design, bookbinding, print making, illustration, calligraphy, and the production of artist's books. -- Source of annotation: Marvin or Ruth Sackner.

This book is a compendium of Canadian avant garde writing from 1965 to 1985. Margaret Atwood, who contributed an over-view essay of the work produced during those years, collaborated with Bok to organize the selections of experimental fiction by the authors. John Riddell contributed "Pope Leo: El Lope" from Criss-Cross. It is a lipogram using only the letters e, o, l and p. The contribution by bp Nichol is from "Still... a novel that depicts in minute detail the scenography for a potential, but postponed , story... his words provide a kind of textual terrain across which the eye pans like a camera." Steve McCaffery's "Panopticon" is an enigmatic whodunnit...The panopticon symbolizes the maze of words through which the reader must wander, playing the role of invisible spectator." -- Source of annotation: Marvin or Ruth Sackner.

This is a reprint of an article published in Cimal No.11-12. -- Source of annotation: Marvin or Ruth Sackner.

This book is a facsimile of the Passover song published in 1919. It also includes the wraparound cover and an introduction to the book's cultural and artistic contexts, descriptions of its imagery and polyglot vocabulary, an English translation of the song from Lissitzky's Yiddish and lyrics set to music. Resouces publishes primary materials held by the Getty Research Institute. the book is edited by Arnold J. Band and Nancy Perloff contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

The exhibition was curated by Rene Block who also contributed an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

Stored with Hannah Weiner material. -- Source of annotation: Marvin or Ruth Sackner.

This book deals with the poems of Edgar Allen Poe. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of critical essays about Haroldo de Campos. It includes a postscript section on his death (1929-2003). Marjorie Perloff contributed an essay "Concrete Prose in the Nineties: Haroldo de Campos Galaxias and After" and interviewed both Haroldo and Augusto de Campos in "Brazilian Concrete Poetry: How It Looks Today." Willard Bohn wrote about "Concrete Poetry at the Crossroads," an intelligent critique of specific concrete poems by de Campos and contemporaries. -- Source of annotation: Marvin or Ruth Sackner.

This is a polemic against Finlay's critics of his books on the staff of the Glasgow Herald. -- Source of annotation: Marvin or Ruth Sackner.

John Held Jr. contributed an introductory essay entitled, "The Open World of Netland." Most of this catalogue printed on brown recyled paper consists of the list of participants. There are only two pages with images. -- 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.