This depicts working ideas for Frog Pond Plop, later realized in a different format as Opening Number No.6, 1965. -- Source of annotation: Marvin or Ruth Sackner.

The number 9 is substituted for all the letters "n" of the words in this text. Curt Cloninger in his Master of Fine Arts in Studio Arts thesis wrote about (Maine College of Arts 2008) "Apophatic Art: Enacting Exhaustive Language / Exhausting Enacted Language." He defined Apophatic Writiing: Apophatic writing in the Christian tradition is a way of talking about God that seeks to properly revere him by not overly delimiting him. "Apophasis' is negation and "kataphasis' is affirmation. Since God is beyond all we can affirm about him, in order to more accurately describe him, we must balance our affirmations with reverent negations. Theologian Bruce Ellis Benson (2002) explains, "One affirms something but denies it, because to affirm it too strongly would be heretical and to deny it completely would also be heretical." -- Source of annotation: Marvin or Ruth Sackner.

This depicts two nuns holding hands while lying in bed; It is collaged onto a page of Furnival's "Liber Amicorum 1964-1984," a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The poem was may have been printed much later than its creation. The Sackner Archive holds the original of this poem. -- Source of annotation: Marvin or Ruth Sackner.

This typing in done in blue ink composed of nine constuctivistic images, formed by dashes and underlines, is arranged in a 3 x 3 grid. -- Source of annotation: Marvin or Ruth Sackner.

The text is written in red and black capital letters. The text reads both right to left (black) and right to left (red) if the paper is turned over and read on the reverse side. It states,"Welcome to days to come! Shall we forfeit much? Sight, hearing, speech perhaps and thought? In the end our loss is self, the glory our gain." The appropriate punctuation marks are written in red and black as are directional arrows. The letters are written written twice, text over text or mirror image. -- Source of annotation: Marvin or Ruth Sackner.

This manuscript was typed by Dom Sylvester Houedard, the translator of Garier's manifesto and is stored in Garniker's box. -- Source of annotation: Marvin or Ruth Sackner.

This essay was published in "The Times Literary Supplement" No.3,258 August 6 1964 in a slightly modified form from this manuscript. The Sackner Archive holds this issue of TLS. -- Source of annotation: Marvin or Ruth Sackner.

The page is divided into six different spaces with varying typed poetic forms. -- Source of annotation: Marvin or Ruth Sackner.

This poem is typed in somewhat the style of e.e.cummings. Alain Neame was the co-liiterary editor with houedard of the Jerusalem Bible. -- Source of annotation: Marvin or Ruth Sackner.

The full title is "last full word in small type on each of 1st 10 pp of webster.' -- Source of annotation: Marvin or Ruth Sackner.

The poem is typed in blue ink. -- Source of annotation: Marvin or Ruth Sackner.

The poem is typed in blue ink. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a square of composed of two words in capital letters THALAMUS & SOL. Houedard has composed several poems using the neurologic structure, Thalamus, as their basis. -- Source of annotation: Marvin or Ruth Sackner.

The title was probably not miss-typed by Houedard with carden for garden and peom for poem. -- Source of annotation: Marvin or Ruth Sackner.