In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

In his introduction, Rothenberg describes his preliminary work organizing this book and visualized it as "an image in this instance of some supreme yiddish surrealistic vaudevillle" he could set into motion. Rothenberg adds a commentary section to each of the poems and provides a section on its source. -- Source of annotation: Marvin or Ruth Sackner.

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.

Almost all of this anthology is devoted to linear poetry with the following exceptions: 1) Stepjane Mallarme's concrete poem, "Cette Adorable Bague" (1866) on page 684, 2)William Blake's "Laocoon," a calligraphic picture pom on page 709, 3) Shaker visionary drawings (1843) on pages 710-711, 4) Edward Lear's callgraphic visual poems (1864), on oage 713, 5) Lewis Carroll's shaped calligraphic poem, "A Mouse" on page713 and 6) Apollinaire's concrete poem, "The Bleeding Heart..." -- Source of annotation: Marvin or Ruth Sackner.