In this poem, all the squares are typed, not collaged. The original typing is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The initials refer to Pat Morrissey, the Director of the Bear Lane Art Gallery in Oxford England. -- Source of annotation: Marvin or Ruth Sackner.

Houedrad draws a diagram describing how this reversal poem is to be set up on a looking glass.On the lower left side is inscribed " for ihf" e.g. Ian Hamilton Finlay. On the lower right an additional poem is drawn in rectangles that reads "louez" and "longs." -- Source of annotation: Marvin or Ruth Sackner.

Houedrad draws a diagram describing how this reversal poem is to be set up on a looking glass. His instructions are "this version may be printed on thick white (card) to stand on looking glass best wld be for card to be such that it can be bent thus." -- Source of annotation: Marvin or Ruth Sackner.

This page contains R-L on the left side and the letters eft and ight on the right side so that the words Left, Reft, Light and Right can be created. -- Source of annotation: Marvin or Ruth Sackner.

Houedard has typed two poems a week apart on the same page. He utilized a complex mathematical procedure to arrive at this performance poetry presentation, much like the workings of Oulipo. -- Source of annotation: Marvin or Ruth Sackner.

John Sharkey's poetry film event was held in Bristol, England. Houedard writes in his introductory statement, "these texts consist of words and silences--any 2 words phrases or silences are connected directly thru what the film is about -- so the words &c can be taken in ANY ORDER." Houedard also writes in the text "CONCRETE POEMS ARE THINGS / LOOK THRU CLEANFORMS TO POETMIND CONCRETE PEOMS...CONCRETE POEMS CAN BE TOYS OR INSTSRUMENTS...CONCRETE IS AFTERBEAT" -- Source of annotation: Marvin or Ruth Sackner.

Charles Cameron writes about this collection of '1 foolscap letter addressed "mdc" (my dear charles) concerning Pierre Albert-Birot's celebrated book Grabinoulor,together with4 foolscap pp of dsh's translation, book 3 chapter 8, with ca 20 - 30 corrections in dsh's hand on each page" The covering letter is stored with the manuacript in the manuscript binder. -- Source of annotation: Marvin or Ruth Sackner.

This poem is dedicated tor peter levi. -- Source of annotation: Marvin or Ruth Sackner.

According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.

According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.

In the image it appears like people are sharing bread. According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.

According to a personal communication from Charles Verey to the Sackners, Houedard was alternating his time in Prinknash Abbey and Rome, Italy from October 1951 to July 1954. He believed that most of the visual art was done in Rome. -- Source of annotation: Marvin or Ruth Sackner.