The text (title) lists instructions for a Christmas play. -- Source of annotation: Marvin or Ruth Sackner.

The titles are printed on gray and green colored cards that relate to these minimalist poems. -- Source of annotation: Marvin or Ruth Sackner.

The author of this book is also a political journalist. -- Source of annotation: Marvin or Ruth Sackner.

This print is a Christmas greeting. -- Source of annotation: Marvin or Ruth Sackner.

The two facing pages of this book depicts silhouettes of four sailing and war ships with captions on the left side and two battle ships along with two imagined ships on the right side. The later consist of an astronaut's view of the earth entitled, "Astronaut's Flattop - earth, and a flower with two leaves in a pond entitled, L'envoi: Queen of the floating pond - Lys. The last page of the boat provides explanations for the captions of the poems. The Sackner Archive also holds the Archive for this work including another copy of the book as well as the ink drawings for it. -- Source of annotation: Marvin or Ruth Sackner.

Five prints were adapted by Hinks from drawings by Claude Lorrain (1640, 1642, 1643, 1649). The texts of the tree plaques for this proposal were taken from classical sources in Latin and Greek literature. -- Source of annotation: Marvin or Ruth Sackner.

The prints show water damage in the lower part of the unprinted area but the images are intact. The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. The print image depicted here was scanned from the book by Williams, "Blues & Roots Rue & Bluets" (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. -- Source of annotation: Marvin or Ruth Sackner.

The columns are inscribed with the name of six persons prominent in the French revolution and they are coupled in pairs because of a relationship. They include LeBas & Saint-Just, Camille (Desmoulins), a revolutionary journalist & Lucille, his wife, and Marat & Charlotte (Corday) his assassin. -- Source of annotation: Marvin or Ruth Sackner.

Depicts a winter landscape with bare trees and rolling hills through a window. The title is printed in red in the upper right. "Rather," the adverb referenced in the title, is printed in blind intaglio capital letters to the right of center. -- Source of annotation: Marvin or Ruth Sackner.

This is a trial proof. -- Source of annotation: Marvin or Ruth Sackner.

Skylarks are ground birds with aerial songs. -- Source of annotation: Marvin or Ruth Sackner.

On their WEB site, the editors state: Facts about SleepingFish Issue Zero: "The word "tongue" is used 6 times. There are 6 bridges. The letter "p" is used 503 times. The word "mouth" is used 8 times. There are 5 references to shellfish. There are 8 contrived geographical partitions. There are 11 bodies of water. There are 23 knees (11½ pairs). There are 11 different species of mammal. If ingested, issue zero has 72 calories, 5 grams of crude fiber, 2 grams of crude protein and 1 gram of crude fat." -- Source of annotation: Marvin or Ruth Sackner.

The title, "sliced lurch," was formed with densely packed typed dashes as well Houedard's initials, "dsh" and the date. The image consists of planes typed in red and black ink. -- Source of annotation: Marvin or Ruth Sackner.

Among others, the book includes a list of two word poems, each with a unique typeface, in which one letter of first word has been replaced by another letter, e.g., Loved Moved, Fat Eat, Dear Bear, etc. -- Source of annotation: Marvin or Ruth Sackner.