Designated poets number seven. Cobbing provided a page of directions for reading the poems which was his second book of verse. Cover was done as a silkscreen print by Jennifer Pike. -- Source of annotation: Marvin or Ruth Sackner.

Designated poets number seven. Cobbing provided a page of directions for reading the poems which was his second book of verse. Cover was done as a silkscreen print by Jennifer Pike. This copy has handwritten comments by Cobbing and was used for a perormance. -- Source of annotation: Marvin or Ruth Sackner.

Designated poets number four. Cobbing provides a page of directions for reading the poems. This copy was used during a performance. -- Source of annotation: Marvin or Ruth Sackner.

This booklet provides information on the events and times of presentations and includes a two page program for sound poetry. -- Source of annotation: Marvin or Ruth Sackner.

Performed in Saarbrucken, 1977. Published in The Kollekted Kris Kringle vol.IV Anarche Press. -- Source of annotation: Marvin or Ruth Sackner.

Designated ICPA Publication No.10. The poetry is based on cattlebrands that Paula Claire observed during a stay in Houston, Texas while performing in New Music America. -- Source of annotation: Marvin or Ruth Sackner.

Although Cobbing is not generally thought of as producing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former expalanation. -- Source of annotation: Marvin or Ruth Sackner.

Although Cobbing is not generally thought of as composing language poetry, the clusters of seemingly meaningless words and unrelated phrases could place this book into such a category. It is of interest that Cobbing had later collaborations with Bruce Andrews, a recognized language poet. The work might also have originated from the cut-up technique but handwritten notes (Notes for (from) Chamber Music), held by the Sackner Archive suggest the former explanation. -- Source of annotation: Marvin or Ruth Sackner.

Cobbing provides handwritten instructions for reading and ordering the sequence of each part of the poem, e.g. slow to lively, slow solemn, quick lively etc. -- Source of annotation: Marvin or Ruth Sackner.

Designated Wallet Number Two. Includes the following pamphlets: 1) Bob Cobbing: Windwound, 2) Jennifer Pike: Slack stack, 3) Herbert Burke: Cinquains, 4) Jeramy Adler:The Little Fruit Gum Memory Book, 5) Jean Trevor: Wind whirled, 6) Stan Trevor: HE, 7) Betty Radin: Journeys, 8) Fernando Setti: News, 9) ee vonna-mitchell: Seam, and 10) Bill Griffiths: Sun-Card. -- Source of annotation: Marvin or Ruth Sackner.

This book includes poetry and performance notes which document several published works by Cobbing. -- Source of annotation: Marvin or Ruth Sackner.

Bill Griffiths' introductory essay explains how Cobbing has used the duplicator, ink, stencils and over-printing to create texts of shapes and textures. They "move away from word and letter as conventional symbols...into a new semantics of shape. The works in this book date from 1970 to 1976. -- Source of annotation: Marvin or Ruth Sackner.

This book incorporates all the material in the two publications, Sound Poems (An A B C in Sound), January 1995, and Kurrirrurriri, November 1967. It consists largely of sound poems though some are written in expressive visual format. The earliest poem in the book, 'Worm' was written in 1954 but did not achieve its final version until 1964. -- Source of annotation: Marvin or Ruth Sackner.