This volume concentrates on Stein's experimental works many of which were previously unknown. The editor's textual scholarship "demonstrates Stein's constant questioning of the conventions of language, writing, and reading and her stunning subversion of the authority of language." -- Source of annotation: Marvin or Ruth Sackner.

This exhibition was curated by Jack M. Ginsberg and David M. Paton and was divided into two sections: International Artists' Books and Book-Objects and South African Artists' Books and Book-Objects. Ginsberg contributed a personal essay on collecting artists' books and the nature of the book. A bibliography, complete index and a list of exhibitions are included. The catalogue consists of an annotated listing of books and book objects without illustrations. -- Source of annotation: Marvin or Ruth Sackner.

This book is a well illustrated biography of Indiana (born Robert Clark) by Susan Ryan that was an outgrowth of a PhD thesis. It deals mainly with Indiana's work from the late 1950's to the early 1970's with emphasis on his visual language works and worded sculptured columns called "herms." The art works are critiqued by Ryan. There are sections that deal with Indiana's poetry and his artist statements. It mentions that Indiana was influenced by the poems of Jose Garcia Villa. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Chopin provides the basis for sound poetry -- Source of annotation: Marvin or Ruth Sackner.

Cluver analyzes Ivo Vroom's "Homage to Mondrian," with respect to the painting "Victory Boogie-Woogie," including the way that typewriter poetry reproduces the features of the painting. Cluver also compares Haroldo DeCampos' type Concrete Poem "branco branco..." to Mondrian's "Composition with Red and Black" of 1936. -- Source of annotation: Marvin or Ruth Sackner.

This text describes the association of Thomson amd Stein in creating their opera "Four Saints in Three Acts," the first Modernist revolutionary work. The opera's success depended on a small group of Harvard graduates who shaped America's first museums of modern art and defined modern taste in the 1920's and 1930's. -- Source of annotation: Marvin or Ruth Sackner.

Schwartzburg provides a very intelligent analysis of Tom Phillips' "A Humument" in Chapter 3. She mentions the following. Stanford's single copy of 'A Human Document' "has lain motionless on the shelves for so long that it has no circulation history prior to three times it was checked out since 1997, when the latest edition of 'A Humument" was taught in a graduate seminar. Phillips' very recovery of Mallock's text demonstrates its loss, for it is only being read now as an extension of 'A Humument.. It is entirely dependent on 'A Humument' - not prior to it." Three major sections of Schwartburg's book deal with works held by the Sackner Archive, Tom Phillips' "A Humument," Susan Barron's unique book, "Twisting Silence," and Ian Hamilton Finlay's "Two Poems." A great deal of research for this thesis was done by Schwartzberg in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This book consists of essays of critical texts. In an essay about the work of bill bissett, Beaulieu extols bissett's "what fuckan theory" as an early conceptual text but excoriates him for the repetive nature of his work and performances as the years progressed. -- Source of annotation: Marvin or Ruth Sackner.