Houedard has included two reconstructed abc-rhymes and a new one -" u k rhyming scheme." His letter refers to several early Christian poets writingn in Latin in appoximatley 200 to 600AD. HOuedard writes that Venantius Fortunatus " got there before later people did" in composing and being a foreruner of poster poems. This material deals with his contribution to Cobbing and Mayer's book, 'Concerning Concrete Poetry', with specific respect to chronology. -- Source of annotation: Marvin or Ruth Sackner.

The large P in the heading to Peter is typed with slashes and dashes. Houedard has requested mention of OULIPO to be included in Peter's Mayer's book with Bob Cobbing, 'Concerning Concrete Poetry.'. He states that his files and things have arrived from the old abbey and he is putting them in order. He also makes suggestions to study the medieval manuscripts for shaped forms and "also the covers of the new encyclopaedia iudaica has a very well done tree with hebrew alphabet leaves...the psychology of inventing pseudo hebrew & pseudo greek might be looked into." -- Source of annotation: Marvin or Ruth Sackner.

Houedard is concerned about sending his reversals and reflecting poems to Ugo Carrega for an exhibition in Italy "but he prefers something more general - a bit of a retrospective - which puts me [Houedard] in a quandry as my stuff gets so scattered i never know where anything is & having had two retrospectives already (the V-&-A in london: the ceolgrith in newcastle at the laing) i cant start assembling stuff all over again - however i shall suggest he writes to the british council to see if they can help - also to the V-&-A which has a travelling show of some of my work (tho whether their travelling shows go abroad i am not certain." The envelope is addressed to Richard Aaron in Switzerland. -- Source of annotation: Marvin or Ruth Sackner.

Houedard typed two optical block images with the lower case letter 't' in the upper page. The identity of t & t is unkown. The letter contains religious information and references to dildoes, e.g., a michievious prank or antic. -- Source of annotation: Marvin or Ruth Sackner.

Houedard writes to Phillips that he "gave two papers not long since to the ibn'arabi society the first was on rainbows in dante & called the rainbow crystal they are thinking of publishing it - probably shortened - but i thought you might care to have a xerox" -- Source of annotation: Marvin or Ruth Sackner.

Thie letter deals mainly with comments on forthcoming books. -- Source of annotation: Marvin or Ruth Sackner.

Lumb discusses hos trip to Tunis and Poland and his master's thesis in mail art. The theme of the artist booklet and the broadsides the "shrine." -- Source of annotation: Marvin or Ruth Sackner.

Lumb discusses the successful exhibition he curated in Warsaw," bookarts in britaim." -- Source of annotation: Marvin or Ruth Sackner.

Lumb thanks Collins for the Robin Crozier book. -- Source of annotation: Marvin or Ruth Sackner.

Lumb thanks Collins for sending him her work and vice-versa. -- Source of annotation: Marvin or Ruth Sackner.

Lumb discusses hos trip to Tunis and Poland and his master's thesis in mail art. -- Source of annotation: Marvin or Ruth Sackner.

This letter provides an explanation of Adler's "Scenario," a prose piece which is an allegorical interpretation of his poem, "Alphabet Music." The manuscript of "Scenario" was attached to the letter. -- Source of annotation: Marvin or Ruth Sackner.

Letter concerns aspects of P. Brown's book, "Venus In Ultraviolet Light," a work held by the Sackner Archive. The image on stationery is by Opal Nations. -- Source of annotation: Marvin or Ruth Sackner.

Letter deals with a Nitsch (Vienna Action Group) performance that resulted in an obscenity charge by the English legal system and the sending of 3 typestracts to the "Bennington." Mentions that galleries usually charge $15.00 each and that he wants transparency of any item sold. States that Watford College wants him to do typestracts - i.e. not semantic poems and wants response if request is for poems "w/oldfashioned words." -- Source of annotation: Marvin or Ruth Sackner.

Gomringer expresses admiration for the poetry of Houedard and Finlay in England. He mentions that he is thinking about creating a book "for the hours." -- Source of annotation: Marvin or Ruth Sackner.

Mentions that Sackners are admirers of Federman's book "Double or Nothing." Curtay also discusses the forthcoming Lettisme exhibition at the Univiversity of Iowa. -- Source of annotation: Marvin or Ruth Sackner.

Gibbs asks Aaron for books and mentions his working on Kontextsound to accompany the sound poetry festival ar Amsterdam's Stedelijk Museum. -- Source of annotation: Marvin or Ruth Sackner.

Gibbs mentions his current travel plans and performances. He has favorable comments for a sound poetry festival. -- Source of annotation: Marvin or Ruth Sackner.

Gibbs mentions that he wants to publish parts of Burroughs "The Third Mind" in Kontexts and that he is translating a piece from Henri Chopin in "difficult French. -- Source of annotation: Marvin or Ruth Sackner.

Proposes a sound poetry performance. -- Source of annotation: Marvin or Ruth Sackner.