The pages are "saturated" with proofs of "discarded titles, rejected illustrations, botched typographics" from an abandoned book, "Sic Transport." -- Source of annotation: Marvin or Ruth Sackner.

This book includes two works of Achleitner, "o- i-studie"(1960) & "schwer schwerz" (1960), the manuscripts of which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Ferdinand Kriwet contributed an introductory essay, "Decomposition of the Literary Unit: Notes on Visually Perceptible Literature" that traced the historical antecedents of concrete and poetry. This is followed by an illustrated section on his own linguistic and compositional techniques involving circular concrete poems, "Rundsheiben." "Walk Talk," a vinyl, floor covering, a portion of which was given to the Sackners by Kriwet is depicted in the book.Kriwet defines his term "Sehtext" as a solution to the problem of visually perceptible literature. It is the tension between the physical act of seeing and the intellectual one of reading. Seeing is a process of perception; reading is the reaction to it. -- Source of annotation: Marvin or Ruth Sackner.

The text is an exposition of Kriwet's paintings that he designates Publit aka public literature. He notes that he considers himself a writer who paints. -- Source of annotation: Marvin or Ruth Sackner.

The text is an exposition of Kriwet's paintings that he designates Publit aka public literature. He notes that he considers himself a writer who paints. The inscription on the cover is written and signed by Franz Mon (?). -- Source of annotation: Marvin or Ruth Sackner.

This print is housed in a brown paper portfolio with "House Press" and its logo silkscreened onto it along four other prints. -- Source of annotation: Marvin or Ruth Sackner.

This book was reprinted in 1995 in Salzberg. -- Source of annotation: Marvin or Ruth Sackner.

This print is housed in a brown paper portfolio with "House Press" and its logo silkscreened onto it along four other prints. -- Source of annotation: Marvin or Ruth Sackner.

This is an outstanding compilation of Birney's concrete and visual poems. Several poems are written in the linguistic style used by bill bissett. According to Adjala Bookshop, Birney inscribed (dated 1970) this first edition of the book to Mary Lou Toms who was the founding editor of "Books in Canada." The inscription is in the form of a concrete poem. -- Source of annotation: Marvin or Ruth Sackner.

This is an outstanding compilation of Birney's concrete and visual poems. Several poems are written in the linguistic style used by bill bissett. -- Source of annotation: Marvin or Ruth Sackner.

Several poems are word portraits of artists that include Francis Bacon, William Baziotes, James Ensor, Paul Gauguin, Turner, and Robert Motherwell. The book also includes reprints of levy's introductory essay to 306, 5 Cleveland Poems, you murders with your indifference, and the "IN" Group. The cover was designed by Alan Horvath, the publisher. -- Source of annotation: Marvin or Ruth Sackner.

Most of the copies of the first printing in an edition of 108 copies were confiscated by the Cleveland Police in the notorious raid of Jim Lowell's book store in 1966. The second printing by grass coin publishing in 1967 had a different cover, a modified title page & did not contain an index section. This third posthumous printing presented here is a reproduction of the original, the unique page from the second edition as well as the original manuscript pages. The cover silkscreen of this third printing was done by Mike Schaefer. -- Source of annotation: Marvin or Ruth Sackner.

Contains emails between Marvin Sackner and Gregory Charles Thomas, primarily about artists Bob Cobbing and Dom Sylvester Houedard

The first of C. Bellaert's "n-books" all of which are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This collage from the early period of Denny's work relates to graphic design and with his interest in letter pictures. After the mid-sixties, the employment of text in images disappeared and his works became constructivistic. -- Source of annotation: Marvin or Ruth Sackner.