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The layout of this poem has the appearance of a film strip. -- Source of annotation: Marvin or Ruth Sackner.

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This is an incomplete copy that is missing a few of the poem objects. -- Source of annotation: Marvin or Ruth Sackner.

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This is an original complete issue of the periodical. The other copy was purchased in an unrolled condition and is missing a few of the poem objects. -- Source of annotation: Marvin or Ruth Sackner.

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This booklet was written for a workshop in a grade school class and is a second edition of the book. -- Source of annotation: Marvin or Ruth Sackner.

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...

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Stored with John Benjamins catalogues. -- Source of annotation: Marvin or Ruth Sackner.

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This is a selection of concrete poems composed by Cirne from 1986-1992. -- Source of annotation: Marvin or Ruth Sackner.

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This is Vos' doctoral thesis. He mentions that the Sackner and Sohm Archives are excellent sources for reseach on the international concrete poetry movement. He critically reviews definitions of concrete and visual poetry proposed in the past. He relies heavily on the material written by Siegfried J. Schmidt and Nelson Goodman. -- Source of annotation: Marvin or Ruth Sackner.

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This work is made from concrete in the shape of a book. The front molded letters read "Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

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This work is made from concrete in the shape of a book. The front molded letters read "Concrete Poetry." -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by S.J.Schmidt. -- Source of annotation: Marvin or Ruth Sackner.

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In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for th e qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In his introduction to this print series Nannucci writes that "The growing importance of the visual over the verbal which started developing during the fifties, has doubtlessly influenced the proliferation of experimental poetry all over the world...This collection of unpublished poems is both a survey of the field made up to the end of the year 1970 and a proposal for the continuation of experimental work in poetry and for the qualitative renewal of its original aspects." -- Source of annotation: Marvin or Ruth Sackner.

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Includes a reprinting of Ulrich's poem rose-eros. -- Source of annotation: Marvin or Ruth Sackner.

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A single large letter is collaged onto one of the six surfaces of the cube, e.g., L,W, E , F, U, and R but they do not form a word in any adjacent sequence. -- Source of annotation: Marvin or Ruth Sackner.

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Four duplicate drawings from the suite of 60 drawings in Ann Noel's "Conflux," a work held by the Sackner Archive, are reproduced in this catalogue. The Sackner Archive is acknowledged as the owner of this suite of drawings. -- Source of annotation: Marvin or Ruth Sackner.