Compliments Keith about his book, Sphinx. -- Source of annotation: Marvin or Ruth Sackner.

rjs requests bill wyatt for a contribution to the d.a. levey anthology. -- Source of annotation: Marvin or Ruth Sackner.

levy's letter is typed on the verso of a Maciunas Fluxshop announcement. The poem reads, what shud i do bill - my guardian angels - keep trying to cope with me - on my level - im an asshole - with flowers around - with dream roses around - with an ivy wreath around - with wild horses around - with electric lights around - with electric trains running - around my asshole & - crash - my angels get mixed up - explain it toothem if you get a chance - i dont want to be earth hamburger - i want my passport - & transportation provided with a clear outline of impossible travels for me to prove / there were only a few boulders in the way/ cold mountain - aint so COLD. -- Source of annotation: Marvin or Ruth Sackner.

Contains technical instructions for producing a record from a tape of their sound poetry performance. -- Source of annotation: Marvin or Ruth Sackner.

de Vree explains the meanings of the sound poems, "Riviera and Met Leven Is Ein Baccarat." -- Source of annotation: Marvin or Ruth Sackner.

Hansen mentions his new address and sends Cobbing two poems and a record for his 70th birthday. -- Source of annotation: Marvin or Ruth Sackner.

This letter describes sound poems recently completed that are available for presentation at the "sound poetry? concrete poetry?" exhibition to be held at the Stedelijk Museim in Amsterdam. -- Source of annotation: Marvin or Ruth Sackner.

Jandl provides the name of the poem to be read in Amsterdam [refers to sound texts ?concrete poetry visual texts exhibition] along with correct name and dating, i.e., 1957 rather than 1966, of its first publication. -- Source of annotation: Marvin or Ruth Sackner.

This letter was sent to Bruce Mongomery, one of Johnson's teachers, along with a copy of Johnson's first novel, "Travelling People," (also held by the Sackner Archive) in gratitude for helping him as a student. -- Source of annotation: Marvin or Ruth Sackner.

In response to Loeffler's request for a critical essay for his "Book on Correspondence Art" Crozier describes what it would be like to receive work from his colleagues in the mail art network. The narrative mentions over 450 names, all listed in alphabetical order. Mentions "Marvin Sackner who is the only non-artist in here or is he now..." -- Source of annotation: Marvin or Ruth Sackner.

Vittore Baroni, Robert Filliou, Bill Gaglione, Edgardo Antonio Vigo, William Xerra, Nicholas Zurbrugg, Lon Spiegelman, Marvin A. Sackner, Takako Saito, Eugenio Miccini, Clemente Padín, and Richard Kostelanetz are some of the names associated with this letter.

Chopin provides address of Luigi Ferro. He discusses the possibility of publishing his poster "Je" and asks if Verey is interested. -- Source of annotation: Marvin or Ruth Sackner.

Chopin asks whether Verey will be coming to Ingatestone. He wants to buy 10 copies of Aux Hommes. Verey's response along with a drawing in his letter is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This letter deals with Chopin's concerns regardng the sale of the poster Aux Hommmes to a London gallery. -- Source of annotation: Marvin or Ruth Sackner.

Chopin invites Verey to his large home in Ingatestone. States that he has copies of Ou that Verey requested. -- Source of annotation: Marvin or Ruth Sackner.

Discusses a wall project. -- Source of annotation: Marvin or Ruth Sackner.

Chopin requests 10 copies of Aux Hommes. -- Source of annotation: Marvin or Ruth Sackner.

Chopin states that he is sending posters for sale. -- Source of annotation: Marvin or Ruth Sackner.

Chopin invites Verey to Ingatestone with Tom Clark at the end of August. -- Source of annotation: Marvin or Ruth Sackner.