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This photograph depicts a double exposure of the sound poet, Henri Chopin. -- Source of annotation: Marvin or Ruth Sackner.

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This annotated bibliography is written by Smith and includes descriptions and illustrations of his entire works. Smith writes a personal note to the Sackners stating that "this bibliography will give you an overall view of my work.: -- Source of annotation: Marvin or Ruth Sackner.

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levy describes a poet friend (RD) who is the only white man living and trying to make a difference in a black Cleveland neighborhood. He also doesn't want Inman to list his address in kauri (Inman's magazine) because he wants to be left alone to work. Inman writes back that he respects RD's intentions but rejects the poem because of its quality. -- Source of annotation: Marvin or Ruth Sackner.

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Albert Behar is the Sackners' grandson. This work is stored in the Albert Behar Archive box.This work is an 80th birthday gift for Marvin Sackner. It consists of a drawing of a music score that can be performed by voice or accordion as the intensity and timing of expiration and inspiration with an 1/8th note duration. In his letter, Albert Behar concludes that these 'two-way rhythms' ..."are based on panting patterns in the breath and can be played on the accordion, which, I realised is a giant musical lung!" -- Source of annotation: Marvin or Ruth Sackner.

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This is the 1st edition of the book. The basis for writing each typewriter poem is concisely described by Hollander on the page facing the poem pages. A single shaped poem, including among others a light bulb, a star of David, an arrow, a musical note, and a swan with its shadow, is laid out on a page. The loose sheet is a notification for a requested book review. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This exhibition was curated by Kevin Ray, Head of Special Collections of the Olin Library. In his introductory essay, Ray writes, "The writer's notebook is the precursor, the ancestor of writing, even moreso of reading. Before the note, before the thing to be noted, it was there, and it remains, the locus becoming, by its presence and its persistence, capable of not simply holding or transmitting what is within it, but of producing and recreating it. The notebook as a visual space of chiefly, though not exclusively, texts, allows for several things to be happening within the same space and, more uncertainly, the same readerly time, yet they are of very different, even wildly divergent times...The notebook becomes then a place of juxtapositions, and with this ability to juxtapose, to hold together without necessary or obvious link, the notebook, as a form or genre, comes into its own, and comes into the intellectual life of published, of printed work." -- Source of annotation:...

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This book offers a 'how to do it' section on making typewriter art and subsequent examples of mostly realistic and semi-realistic images. -- Source of annotation: Marvin or Ruth Sackner.

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This is essentially a drill book without any artyping. -- Source of annotation: Marvin or Ruth Sackner.

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This is a portfolio edition of "typoaktionen" (1967), a book also held by the Sackner Archive. Hansjorg Mayer defines Concrete Poetry as follows: In concrete poetry the typographical shape is used on its own as an aesthetic element. -- Source of annotation: Marvin or Ruth Sackner.

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This book offers a selection of collages and poem objects by Kluge to the Sackners. -- Source of annotation: Marvin or Ruth Sackner.

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Card No.22 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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Card No.1 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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Card No.8 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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Card No.1 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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This poster depicts 52 photographic reproductions of Magro's performance pieces. -- Source of annotation: Marvin or Ruth Sackner.

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Card No.17 was scanned into record. -- Source of annotation: Marvin or Ruth Sackner.

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This book was designed by Jody Zellen. In it, an interview in 1995 with the British visual and concrete poet Paula Claire is cited that ends with the following question and answer: "And what do you think of the Sackners' collection?" "I feel that because of the Sackners, this whole field can never be ignored. That collection is at their house, they own it, but inevitably it will become part of a public institution, and a lot more people will know about it and it will give all the visual poets more prominence, because it cannot possibly be ignored." -- Source of annotation: Marvin or Ruth Sackner.

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Llys Dana writes at the bottom of the photocopy, "This is the copie (sic) of a poster I did for a one woman performance 'Un Saison en Enfer' from Arthur Rimbaud. The portrait of Rimbaud is written with his own text. I did also with the same technic portrait of Mallarme, Alfred Jarry, Andre Gide etc." -- Source of annotation: Marvin or Ruth Sackner.