Scope and Contents This issue includes a Glyn Pursglove's essay, "An Introduction to Concrete Poetry." He states "The phrase 'Concrete Poetry' is bandied about a great deal in a way which seems to suggest that all those to whom it is applied are part of a conscious, united movement, and that they are artists whose work is dictated by a set of common and explicit principles. As anyone with any understanding of artistic 'movements' will readily imagine, this is a superficial and misleading idea. Certainly there have been plenty of explicit statements by some of the poets involved but these have, naturally, attracted as many opponents as supporters. One of the most important of such statements was 'POSITION 1 of International (Movement) for Spatial Poetries" organised by, among others, Pierre Gamier. This was not quite a manifesto, in the sense of a document proclaiming plans for the future, but rather a formalisation of a situation. Gamier was fully conscious of the difficulties, and his closing words...

Scope and Contents This text of this book that was first published in Kontextsound in 1977 consists of an interview of Cobbing by Mottram. Cobbing discusses how he switched from composing conventional poems to sound poems circa 1963. He also makes mention of music as it relates to sound poems and his belief that avant garde musicians appropriated material from poets not vice-versa. Bob Cobbing died at age 82 years in 2002. Robert Shepard wrote the obituary in The Guardian October 7, 2002. "Bob Cobbing, who has died aged 82, was the major exponent of concrete, visual and sound poetry in Britain. Long after its international heyday in the 1960s, he continued to produce visual texts that were also scores for performance, many of them published as booklets by his Writers' Forum press, and launched at its associated workshop, which has been meeting in private houses and rooms above pubs since 1954. His work appears in many anthologies. Born in Enfield, Cobbing was brought up within that close religious...

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Designated folder no.1. Dom Sylvester Houedard contributed introductory notes to the poems. -- Source of annotation: Marvin or Ruth Sackner.

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Designated folder no.1. Dom Sylvester Houedard contributed introductory notes to the poems. -- Source of annotation: Marvin or Ruth Sackner.

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Ernst Jandl was a Viennese sound/concrete poet who published with Houedard. -- Source of annotation: Marvin or Ruth Sackner.

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Designated as pamphlet eight. Includes a printing of a portion of Houesard's 'from the cosmic typewriter - a somantric diversion (201163), -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents It appears that Bob Cobbing was the author/editor of this book that mostly consisted of works of Houedard, several of which are held by the Sackner Archive. Cobbing writes in this book of Houedard's poetry (1949-1972) that he deserves publication of a large body of work because he was important in his innovative religious thinking, philosophy, poetry and criticism. He mentions that much of the material is held by the Sackner Archive and anyone 'doing the big book' would need to see and be inspired by that collection. The current book was edited by Cobbing and/or Thomas Clark.The composition of Houedard's typewriter poems using the portable Olivetti Lettera 22 as described by Houedard In Mary Ellen Solt's 'A World Look at Concrete Poetry': "there are 86 type units available on my machine for use w/2-color or no ribbon - or with carbons of various colors - the maximum size surface w/out folding is abt 10" diagonal--the ribbons may be of various ages--several ribbons may be used on a...

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dsh analyzes the sound poems of Cobbing and Jandl as well as making comparisons to Zen. -- Source of annotation: Marvin or Ruth Sackner.

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Houedard in his introduction states that this is the first lecture (concrete poetry) delivered in the English speaking world. He presents an extensive critical analysis of Gomringer's poems including "Avenidas," "Silencio,"etc. and DeCampos poetry. Calligrammes were inspired by Mallarme's "Un Coup De Des" as well the music of Webern. He discusses the basis for Ultra-Lettrisme and Sound Poetry and provides a chronology for Sound Poetry. -- Source of annotation: Marvin or Ruth Sackner.

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Ten copies of this documentation of the performace organized by jw curry were published. Eight were given to the participants. Therefore, the Sackner Archive has one of the only two in the public domain. -- Source of annotation: Marvin or Ruth Sackner.

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Unable to find Finnish translation of 'gnyook' that is the maiin word of the poem on the internet. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This letter typed on tissue paper is addressed to "my dear moonthought here is a wee machinepome on luv." The upper section gives instructions for six poems, the middle section is a typed square of luv and the bottom section designates four lines of instructions. This work was to be used for the LeicesterArts Festival. Wikipedia: David Medalla (born 1942) is a Filipino international artist. His work ranges from sculpture and kinetic art to painting, installation and performance art. He lives and works in London, New York and Paris. Medalla was born in Manila, the Philippines, in 1942. At the age of 12 he was admitted at Columbia University in New York upon the recommendation of American poet Mark van Doren and studied ancient Greek drama with Moses Hadas, modern drama with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John Randall and attended the poetry workshops of Leonie Adams. In the late 1950s he returned to Manila and met Jaime Gil de Biedma...

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This poem is attibuted to pete brown. -- Source of annotation: Marvin or Ruth Sackner.

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This is a reprinting of the book which was first published in 1965; it is No.15 in the Poets* series. In the introduction, Houedard traces the history of sound poetry through a listing of the chronology of "notable soundpoems" beginning with Lewis Carroll in 1855 and ending with Cobbing in 1965. He also mentions Egyptian hymns 300 B.C. of breath poems consisting of may notes sung to one syllable. Houedard's manuscript for this essay is held by the Sackner Archive. This book was written to accompany Writers Forum Record No.1 by Jandl and Cobbing. One of the poems by Jandl in this book, "time passes," also appears in the manuscript and book of "mai hart...," works also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This book is No.15 in the Poets* series. In the introduction, Houedard traces the history of sound poetry through a listing of the chronology of "notable soundpoems" beginning with Lewis Carroll in 1855 and ending with Cobbing in 1965. He also mentions Egyptian hymns 300 B.C. of breath poems consisting of many notes sung to one syllable. Houedard's manuscript for this essay is held by the Sackner Archive. This book was written to accompany Writers Forum Record No.1 by Jandl and Cobbing. One of the poems by Jandl in this book, "time passes," also appears in the manuscript and book of "mai hart...," works also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.