Cent mille milliards de poèmes
Image of Cent mille milliards de poèmes, by Raymond Queneau

Raymond Queneau (1903–1976). Cent mille milliards de poèmes. Paris: Gallimard, 1961. Courtesy of University of Arizona Libraries, Special Collections.

How many poems can be made from this book of ten sliced sonnets? According to the title, a hundred million million poems.

Gesammelte Werke
Image of Gesammelte Werke, v. 9, by Dieter Roth

Dieter Roth (1930–1998). Gesammelte Werke, v. 9 & 19. Stuttgart: H. Meyer, 1971–. Courtesy of University of Arizona Libraries, Special Collections.

Dieter Roth's complete works range from original drawings and collages to Stupidogrammes (punctuation works) and a sausage stuffed with newspaper.

Gabberjabb #5
Cover Image of Gabberjabb #5, by Walter Hamady

Walter Hamady. Gabberjabb No. 5. Mt. Horeb, WI: Perishable Press, Ltd., 1981. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

With a mind, a letterpress, a drawer of metal type, a handmade paper mill, and the extraordinary Gabberjabb series 1–8, Walter Hamady changed the face of contemporary book arts in the United States.

Interior Pages from Gabberjabb #5
Interior Pages of Gabberjabb #5, by Walter Hamady
Interior Pages of Gabberjabb #5, by Walter Hamady

Walter Hamady. Gabberjabb No. 5. Mt. Horeb, WI: Perishable Press, Ltd., 1981. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

Gabberjabb #6
Cover Image of Gabberjabb #6, by Walter Hamady

Walter Hamady. Gabberjabb No. 6. Mt. Horeb, WI: Perishable Press, Ltd., 1988. Courtesy of University of Arizona Libraries, Special Collections.

Interior Pages from Gabberjabb #6
Interior Pages of Gabberjabb #6, by Walter Hamady
Interior Pages of Gabberjabb #6, by Walter Hamady

Walter Hamady. Gabberjabb No. 6. Mt. Horeb, WI: Perishable Press, Ltd., 1988. Courtesy of University of Arizona Libraries, Special Collections.

Was Here
Cover Image of Was Here, by Emily McVarish
Image of Was Here, by Emily McVarish

Emily McVarish. Was Here. San Francisco/New York: E. McVarish/Granary Books, 2001. Courtesy of Johanna Drucker.

"In Emily McVarish's works... compositional acuity makes each separation of an opening into a scene within a series, a punctuated moment, bracketed by the literal edge of the sheet"—Johanna Drucker.

Spreading the Word
Image of Spreading the Word, by John Crombie

John Crombie. Spreading the Word. Paris: Kickshaws, 1987. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

The Poetry Center's collection of 13 Kickshaws titles represents the only Southern Arizona holdings of John Crombie's important presswork. This copy of Spreading the Word, no. 1 of an edition of 115, was the author-printer's personal copy before coming to the Center.

Sweethearts
Cover Image of Sweethearts, by Emmett Williams
Image of Sweethearts, by Emmett Williams

Emmett Williams (1925–2007). Sweethearts. Stuttgart: Edition Hamsjörg Mayer, 1967. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

In a virtuoso performance, concrete poems about love and sex take shape from the letters of the word "sweethearts."

Ledentu le Phare
Cover Image of Ledentu le Phare, by Iliazd
Image of Ledentu le Phare, by Iliazd

Iliazd (1894–1975). Ledentu le Phare, facsimile. Paris: Editions Allia, 1995. (Originally published by Editions 41, Paris, 1923). L.R. Benes Rare Book Room, University of Arizona Poetry Center.

From the heart of the 20th-century avant-garde, this Dadist/Futurist text is written in "zaum" ("language beyond reason").

Maximiliana
Image of Maximiliana, by Iliazd and Max Ernst

Iliazd (1894–1975) & Max Ernst (1891–1976). Maximiliana, facsimile. Vence, France: 2008. (Originally published by Editions 41, Paris, 1964). Courtesy of Johanna Drucker.

Subtitled The Illegal Exercise of Astronomy, the Maximiliana is a collaboration between two legends of Dada that celebrates the 19th-century astronomer Wilhelm Tempel.

Word Rain
Cover Image of Word Rain, by Madeline Gins
Interior Page from Word Rain, by Madeline Gins

Madeline Gins. Word Rain. New York: Grossman Publishers, 1969. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

"Madeline Gins plays a game of self-self-consciousness in Word Rain, showing us a reader reading a book that is referencing the reader at every turn"—Johanna Drucker.

Schablone Berlin
Interior Page of Schablone Berlin, by Kyle Schlesinger and Caroline Koebel

Kyle Schlesinger & Caroline Koebel. Schablone Berlin. Tucson: Chax Press, 2005. University of Arizona Poetry Center.

Schablone is the German word for stencil. Schlesinger and Koebel document German street art/street poetry in a book from Tucson's own Chax Press.

St. Ghetto des Prêts
Image from Ghetto des Prêts, by Gabriel Pomerand
Image from Ghetto des Prêts, by Gabriel Pomerand

Gabriel Pomerand (1925–1972). St. Ghetto des Prêts, Grimoire, facsimile. Brooklyn: Ugly Duckling Presse, 2006. (Originally published by O.L.B., Paris, 1950.) University of Arizona Poetry Center.

Pomerand founded the Lettrist movement with Isidore Isou in 1945 in Paris. This 'grimoire' (book of magic), with its poems translated into rebuses, represents one of the movement's seminal texts.

Day
Cover Image of Day, by Kenneth Goldsmith
Interior Page from Day, by Kenneth Goldsmith

Kenneth Goldsmith. Day. Great Barrington, MA: The Figures, 2003. University of Arizona Poetry Center.

From Goldsmith’s remarks on this book: "I am spending my 39th year practicing uncreativity. On Friday, September 1, 2000, I began retyping the day's New York Times, word for word, letter for letter, from the upper left hand corner to the lower right hand corner, page by page."

Fool's Gold
Image of Fool's Gold, by Charles Bernstein and Susan Bee
Image of Fool's Gold, by Charles Bernstein and Susan Bee

Charles Bernstein & Susan Bee. Fool’s Gold. Tucson: Chax Press, 1991. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

"The poems slide through the gutters in a range of sizes and shapes that shift and move with dynamic energy so that we forget, for a moment, that the texts are fixed on the page"—Johanna Drucker.

Foew&ombwhnw
Cover Image of Foew&ombwhnw, by Dick Higgins
Interior Page from Foew&ombwhnw, by Dick Higgins

Dick Higgins (1938–1998). Foew&ombwhnw. New York: Something Else Press, 1969. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

The full title of this Biblically packaged Fluxus text is Freaked Out Electronic Wizards & Other Marvelous Bartenders Who Have No Wings; a Grammar of the Mind and a Phenomenology of Love and a Science of the Arts as Seen by a Stalker of the Wild Mushroom.

Long Slow March
Image of Long Slow March, by Clifton Meador

Clifton Meador. Long Slow March. Purchase, NY: C. Meador/Center for Editions, Purchase College, 1996. Courtesy of Johanna Drucker.

Meador's Long Slow March follows unfolding text, image, and history along the route of the 1965 Civil Rights march from Selma to Montgomery, Alabama.

Cover Image and Interior Page from Long Slow March
Cover Image of Long Slow March, by Clifton Meador
Interior Page from Long Slow March, by Clifton Meador

Clifton Meador. Long Slow March. Purchase, NY: C. Meador/Center for Editions, Purchase College, 1996. Courtesy of Johanna Drucker.

Out of Sight
Cover Image of Out of Sight, by Keith Smith
Interior Pages from Out of Sight, by Keith Smith

Keith Smith. Out of Sight (Book Nr. 107). Rochester, NY: K. Smith, 1985. Courtesy of Johanna Drucker.

Leaves of graduated widths turn to reveal a shifting poetic text. Smith’s words themselves also turn and shift: dearly – dear lee, eye – I, here – hear.

MuzeLink
Image of MuzeLink, by Brad Freeman
Interior Page from MuzeLink, by Brad Freeman

Brad Freeman. MuzeLink. Purchase, NY: B. Freeman/ Center for Editions, Purchase College, 1997. Courtesy of Johanna Drucker.

MuzeLink constantly show us the inevitable ephemerality of writing, the impossibility of noting the present as it slips away from and in the very acts of inscription”–Johanna Drucker.

Poemobiles
Image of Poemobiles, by Augusto de Campos and Julio Plaza
Image of Poemobiles, by Augusto de Campos and Julio Plaza

Augusto de Campos & Julio Plaza. Poemobiles. São Paulo: A. de Campos & J. Plaza, 1968–1974. Courtesy of Johanna Drucker.

Poemobiles contains thirteen objects constructed by Plaza with texts by de Campos: truly embodied words.

Objects from Poemobiles
Image of Poemobiles, by Augusto de Campos and Julio Plaza
Image of Poemobiles, by Augusto de Campos and Julio Plaza

Augusto de Campos & Julio Plaza. Poemobiles. São Paulo: A. de Campos & J. Plaza, 1968–1974. Courtesy of Johanna Drucker.

History of the/my Wor(l)d
Cover Image of History of the/my Wor(l)d, by Johanna Drucker
Interior Pages from History of the/my Wor(l)d, by Johanna Drucker

Johanna Drucker. History of the/my Wor(l)d. Cambridge, MA: J. Drucker, 1990. Courtesy of Johanna Drucker.

One line of text breaks through another as an interruption to the authority of any single mode of discourse, threading official history into and out of personal memory.”–Johanna Drucker. This copy is the artist proof of the original letterpress edition.

A Humument
Interior Page from A Humument, by Tom Phillips
Interior Page from A Humument, by Tom Phillips

Tom Phillips. A Humument: A Treated Victorian Novel. 4th edition. London: Thames & Hudson, 2005. L.R. Benes Rare Book Room, University of Arizona Poetry Center.

Since 1966, Tom Phillips has been ‘treating’ the Victorian novel A Human Document (by W. H. Mallock) to successive layers of art, using gouache, pen and ink, and other media to reveal new work within. Phillips writes that A Humument “is a paradoxical embodiment of Mallarmé’s idea that everything in the world exists in order to end up as a book.”

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