Each of these books demonstrates, to use Buckminster Fuller's term, a "syntegrity" of text and art — a serendipitously achieved harmony where poetry and illustration modify and affect each other in some of the ways that their creators affect each other as friends. Guy's poems pop differently because of the often audaciously 'pornographic' art that accompanies them; Norman's drawings breathe a different psychic air than they would solo — separate from the poems they illustrate.
 
Norman on the collaboration:
My collaboration with Guy came about when I began playing with his e-mailed poetry that I had collected.
I played with fonts and layouts as though it were 'found art' — to do with what I wished. I showed some
of my efforts of to our mutual friend, David Schechter. He liked them, but wasn't so sure Guy would approve.
Guy's response was amused, appreciative, gratified. The first 'gUY nORMAN' he saw had a sort of inadvertent
synergy. It authenticated the notion that this could be a worthwhile undertaking.
I have thus far assembled Guy's poems as signatures of his art, mixed with the signatures of my own art.
The books can be opened to any page, may be perused in any direction, viewed and re-viewed singly or as diptychs.
Each is a 'Now' of a specific moment of creativity. Each, through its juxtapositions, infers modularity, endless
permutations: a product of dumb luck more than conscious intent. The books are viewable as gardens — random
plantings that somehow wed disparate flowers.
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