Scope and Contents

d.a. levy was the proprietor of Renegade Press. The title poem was set in the style of e.e. cummings. The poems entitled "Sound Poems" are actually tongue-twisters. This was Heckman's only book. -- Source of annotation: Marvin or Ruth Sackner.

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An article by Jeremy Musson, "Bollards of Peckham Rye," describes the imaginative renewal scheme for the public spaces in Peckham, London. Tom Phillips is pictured in front of the gate and arch he designed for a garden inspired by flying birds and falling leaves, and in front of mosaic mural that reads "I love Peckham." -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Melvyn Freilicher and Eleanor Bluestein. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Edited by Irene Gammel and Suzanne Zelazo. Florine Stettheimer (1871-1944) was an American modernist of German-Jewish heritage living in New York. She was a painter, designer, and poet. Together with her sisters Ettie and Carrie, Stettheimer hosted a legendary salon on the Upper West Side, where they entertained the likes of Marcel Duchamp, Carl Van Vechten, Henri McBride, and Georgia O'Keeffe. In 1934 Stettheimer designed the set and costumes for Gertrude Stein's opera Four Saints in Three Acts to much acclaim. In 1949, Ettie collected Florine's poems in CRYSTAL FLOWERS, a privately printed, elegant edition of 250. In addition to these rare poems, this new volume offers formerly unpublished material culled from archives, including three new poems and Stettheimer's libretto for her ballet ?Orphee of the Quat-z-arts.? Gammel and Zelazo have re-situated this overlooked poet among her modernist sisters, presenting her as an important practitioner of a modernism that integrates...

Scope and Contents

The poems are based on the scientific structure of crystals including diamond, emerald, glass, opal. The book was given to the Sackners at the Yale University Portuguese Concrete Poetry symposium (1995) that was organized by Keith Jackson and Johanna Drucker. -- Source of annotation: Marvin or Ruth Sackner.

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This book is a masterpiece of rubberstamp printing. Its theme is a rendition in the criminal's version of his apprehension by the Justice System in Toronto as interpreted by curry in a concrete/visual poetic style. The design is a masterpiece of the rubberstamping genre.The texts provide an improvised "discontinuous transcription" of statements made by an out-of-control Canadian felon after his arrest by the Toronto Metro Police August 18, 1988, as recorded by a reporter from the sensationalist SUN newspaper. Joe Poland's statements after his arrest provide some bizarre entertainment: a cross between "found poetry" and a "cutup". -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a masterpiece of rubberstamp printing. Its theme is a rendition in the criminal's version of his apprehension by the Justice System in Toronto as interpreted by curry in a concrete/visual poetic style. The design is a masterpiece of the rubberstamping genre.The texts provide an improvised "discontinuous transcription" of statements made by an out-of-control Canadian felon after his arrest by the Toronto Metro Police August 18, 1988, as recorded by a reporter from the sensationalist SUN newspaper. Joe Poland's statements after his arrest provide some bizarre entertainment: a cross between "found poetry" and a "cutup". -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Second edition was published by Pirate Press and Writers Forum in 1976; therefore this might be a 3rd Edition. -- Source of annotation: Marvin or Ruth Sackner.

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One of the typed poems is a concrete poem. -- Source of annotation: Marvin or Ruth Sackner.

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This book deals with Hoffmeister travel encounters around the world. -- Source of annotation: Marvin or Ruth Sackner.

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Includes the same collages reproduced in b & w in Quixote Vol.4 No.6. -- Source of annotation: Marvin or Ruth Sackner.

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This book constitutes an early working draft of Phillips' translation of Dante's Inferno. The text begins with Canto V (From that initial circle I went down), and ends with Canto XXVI (Florence, rejoice! You're so important now). The pages include drawings and handwriting in red, brown, blue, green and black ink. About seventy-five of these small drawings which accompany the text (but not necessarily illustrating it) depict images of strange gargoyle-like creatures, optical elements, animals, and an opened book. Tom Phillips' poem on page one sets the tone for the project, "impure suburban night - corrupt with orange light - be silent for my concentration's weak - your planes, though high are not the muse I seek - I want to hear this old Italian speak." The endpapers are red and white fleurs-de-lis and include a book plate depicting Dante reading in his study which is signed by Phillips.Page 2 marks the beginning of Canto V. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The binding and typing of this first volume of the final typescript translation (with handwritten ink corrections by Phillips) was done by Pella Erskine-Tulloch although her usual gold stamped name is missing from the inside back cover. The Roman numerals from I to XXXIII are stamped on each of the three volumes within a hexagon, pointing downward with the initials TP stamped at the bottom. The numbers from I to X are in gold leaf signifying the contents of the volume. The hexagon outline is stamped Dante Inferno repetitively in very small type. The spine of each volume contains the title Inferno in black stencilled letters over which Dante Inferno is repetitively stamped in gold. The top edges of the three volumes are gilded and stamped with multiple fleurs-de-lis. The endpapers are printed with "Una Selva" stencilled text. -- Source of annotation: Marvin or Ruth Sackner.