Scope and Contents

The image of this stencil is fine but the paper is fragile and torn in a few places. The work designated by levy as a concrete poem has images which classifies it more as a visual poem. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

'Still 1' typewritings are stored in a custom wooden box made by Mali Burgess whereas 'Still 2' typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is stored in cummings' box -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Internet: Stephen Scobie, poet, critic, professor, publisher (b at Carnoustie, Scot 31 Dec 1943). Typical of his 20 volumes of poetry are The Birken Tree (1973), The Rooms We Are (1974), A Grand Memory for Forgetting (1981) and Expecting Rain (1984), Remains (1990) and Slowly into Autumn (1995). In these, open verse forms with extensive historical and literary references commemorate, sometimes nostalgically, people and places. McAlmon's Chinese Opera (1980), dramatic monologues in the voice of Robert McAlmon, won Scobie a Governor General's Award. He published a second dramatic monologue in the voice of an historical figure, The Ballad of Isabel Gunn, in 1987. Dunino explores Scobie's Scots childhood through an intertextual invocation of Rilke's Duino Elegies; Scobie is here playing off George Bowering's earlier rewriting of Rilke in his Kerrisdale Elegies. He collaborates with Douglas Barbour in the sound-poetry duo "re:sounding," and co-authored with him "homolinguistic...

Scope and Contents

All poems are based on the words "spazio" and "tempo." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This poem depicts a five pointed star shaped from words. The poem was adapted from a poem by Ataalakh Mahmud Hussain Atai, an Uzbek poet who lived in the 15th century. -- Source of annotation: Marvin or Ruth Sackner.