ArchivesSpace at the University of Iowa

The card, covered with cursive handwriting with flourishes, is particularly dense at the upper left and lower right sections. -- Source of annotation: Marvin or Ruth Sackner.

This print is from the first version of the work which was mostly destroyed in a fire at Editions Alecto. Less than three copies of the prints from the first version survived. Some images of the prints were recycled in the second version of the book but this was not one of them. This print depicts blurred, Italian text in large, colored stencilled letters on a grey and brown background. In the left lower corner, Phillips has inserted a Humument fragment which reads, "yawning before him like a gulf in the depths of a dream the entrance to hell - memory as mourning merely - To the insensible." A handwritten selection in Italian from the Dante canto for which the print is illustrative has been placed in the upper center half of the print. Finally, Phillips has written 'NO' in the center of the print perhaps because he was dissatisfied that the handwritten text had not been properly centered. -- Source of annotation: Marvin or Ruth Sackner.

Sandra Jackman writes about their trip to the Galapagos on the inside of the card. -- Source of annotation: Marvin or Ruth Sackner.

The drawing consists of dense lines of handwriting covering almost the entire page. -- Source of annotation: Marvin or Ruth Sackner.

This copy is missing the original drawing by Accame. -- Source of annotation: Marvin or Ruth Sackner.

This pamphlet served as an exhibition catalogue for the work of the two poets. The show was curated by Christopher Fritton. -- Source of annotation: Marvin or Ruth Sackner.

Solomon's handwritten text dealing with her involvement in repetition is printed in black ink in a quasi-circular layout on the acetate sheets and one side of the envelope. -- Source of annotation: Marvin or Ruth Sackner.

The images for each month of the year 1999 are colored photographs of graffeti on walls. Halby writes in his essay that the birth of graffiti can be traced to the fifties in New York when young Puerto Rican immigrants protested and drew attention to their desolate condition by spray painting the windows on subway cars. They worked with hectic speed and used bizarre interlocking angular or round letters and signs that came from the world of comics. -- Source of annotation: Marvin or Ruth Sackner.

The work is intended as an admonition to smokers in the form of a work of art. The haiku is repeated for both sexes. -- Source of annotation: Marvin or Ruth Sackner.

This image is derived from the cover of a CD of choral works by Tarik O'Regan. -- Source of annotation: Marvin or Ruth Sackner.