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The stamp, made of rigid photopolymer, is a drawing of a heart surrounded with the words Ruth and Marvin Sackner Archive of Concrete and Visual Poetry designating various parts of the heart. The strip of labels contain the same aphorism on different colored stock from Corbett's publication, Tensetendoned. This item is stored in the box with Tensetendoned. -- Source of annotation: Marvin or Ruth Sackner.

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This is the second edition of a book with the same title printed letterpress in 1988. Crombie describes the history of the neighborhood and the artists and writers who lived there. He provides the history of printing by the Kickshaws Press whose shop was initially housed in Montparnasse. The Press was closed in 1994 but Crombie still retains a small shop in another location in Paris. -- Source of annotation: Marvin or Ruth Sackner.

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This book describes the history of the street on which Kickshaws Press is located, the only English language small press operating in Paris. This version of the book is printed on Arches rag paper. -- Source of annotation: Marvin or Ruth Sackner.

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This the narrrative track for a film by Gio Sampoga using texts assembled by curry from his journals. -- Source of annotation: Marvin or Ruth Sackner.

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This is the scene by scene breakdown sheme for the film of the same title by Gio Sampoga. -- Source of annotation: Marvin or Ruth Sackner.

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This collection was acquired by the Getty Center For History of Arts and Humanities. There were extensive listings of books by Kruchenykh and Mayakovsky. -- Source of annotation: Marvin or Ruth Sackner.

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This publication was a senior project by the author for the OSU Department of Industrial, Interior and Visual Communication. It was prepared as a study for designing an area in a potential future space for special collections in the rare book library. Included are reproductions of "The Altered Page" and "Networking" catalogues of exhibitions from the Sackner Archive, a history of the Archive, photographs and an illustrated article by Tom Austin. Also included is a detailed research section on concrete poetry. A portion of the book concerns the design of a library space for the Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Cards No.18 & No.19 were scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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Cards No.1 & No.2 were scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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Cards No.12 & No.13 were scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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The image is a carnation split in two and the caption describes Saint-Just with a carnation in his buttonhole on his procession to the guillotine. -- Source of annotation: Marvin or Ruth Sackner.

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This document recounts the seizure of Finlay's artworks by the Strathclyde Regional Council regarding a dispute over Finlay's building, The Temple. -- Source of annotation: Marvin or Ruth Sackner.

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This is a stationery memo with space for entering a secret below the letterhead. The background has light green abstract shapes on the white paper that might symbolize Stonypath. -- Source of annotation: Marvin or Ruth Sackner.

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Hubaut wrote text and signs on clear acetate that he pasted on the center of the second page. He also wrote on the margins of this printed page that described his installation piece, "White Spirit - Windows." -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes comments about the publication end of Sulfur magazine at No.45-46 and an inteview of its editor/publisher, Clayton Eshleman. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Meltzer, a poet who's maintained the edge he sharpened fighting conformity back in the heady days of the Beats, carries the battle forward in this engrossing volume of in-depth interviews with such fellow travelers as Gary Snyder and Philip Whalen, who have thrived over the decades and become tremendously influential poets andspiritual leaders. The true legacy of the Beat era was the entwining of art with social awareness and spiritual quests, and the resonance from this brief but indelible revolution is felt in both Meltzer's vintage and recent interviews. His 1969 encounters with the late great poets William Everson, Kenneth Rexroth, and Lew Welch capture the intensity and probity of that inspired time and are invaluable works of oral history, as are the striking juxtapositions between Meltzer's past and present discussions with the still radical and thrilling Lawrence Ferlinghetti Jack Hirschman, and Michael McClure. Eloquent and knowledgeable, these poets and others, including...