The poem reads "say it now, - say no to a twilight of the planet of the planet" -- Source of annotation: Marvin or Ruth Sackner.

The imagery depicts the title page as the 'New Edition.' The text has been cancelled by blue paint and delicate, small, scattered white markings. The poem reads "I sing a book of the art that was - now read on - of mind art - though I have to hide to reveal." -- Source of annotation: Marvin or Ruth Sackner.

The poem reads "near you - toge art and I - remember ruth, ruth your ruth - what a companion." -- Source of annotation: Marvin or Ruth Sackner.

This monoprint reads, "Art already - corpse art - precipice art - raw art - tile art - all thia art - string art - lamp art - spring art - tree art - filled art - grass art." -- Source of annotation: Marvin or Ruth Sackner.

This monoprint reads, "Art already - corpse art - precipice art - raw art - tile art - all thia art - string art - lamp art - spring art - tree art - filled art - grass art." -- Source of annotation: Marvin or Ruth Sackner.

One of the prints depicts most of the lines obliterated with brown paint and the other one with white paint. -- Source of annotation: Marvin or Ruth Sackner.

The six prints are mounted individually on the mat. -- Source of annotation: Marvin or Ruth Sackner.

Six A Humument images of page 85 are printed on a single sheet. One copy is held by the Tate Museum in London. The print on the upper left corner begins: "three times the worm-eaten note - excepting for one missing string that three band playing an air suggestive of dissipation." -- Source of annotation: Marvin or Ruth Sackner.

Phillips dedication reads "for Ruth and Marvin Sackner, patrons, friends who guard my work between them like book ends." This third edition, as denoted on its cover but as the second revised edition as denoted on its title page, contains about 100 pages in which a new image has been substituted for the original. A brown dust jacket covers the yellow-gold soft cover binding which was not Phillips' preferred color. -- Source of annotation: Marvin or Ruth Sackner.

Phillips dedication reads "for Ruth and Marvin Sackner, patrons, friends who guard my work between them like book ends." This third edition, as denoted on its cover but the second revised edition as denoted on its title page, contains about 100 pages in which a new image has been substituted for the original. The cover of this book is predominantly yellow-gold rather than brown intended by the designer. It was purchased at the Dual Muse exhibition held at the Washington University Museum of Art. -- Source of annotation: Marvin or Ruth Sackner.

This page consists of two wing-like abstract forms in a blue sky. The poem reads, "to rise on wings. the dawn of love.yish - ving ving that champagne feeling the dawn of fame - to rise on wings--in Paradise. the dawn of love--"shfor shfor" -- Source of annotation: Marvin or Ruth Sackner.

This poem overlying an abstract landscape was written for Salman Rushdie (sr in drawing) & printed in Merely Connect. A large stenciled number "5" perforates a black square with the background of the sky shining thru symbolizing 4 years (Feb 1989) of death sentence by the Iranians and anticipating a 5th year in which it will be rescinded. Phillips' poem: "creeping fate in cold approach pockets, 5 a year, shadowing my diary writing long years on sand, a marriage a home and a child, and a story ago." -- Source of annotation: Marvin or Ruth Sackner.

An fauve-like painting a half portrait of a figure the right upper corner adjacent to a stylized pack of wolves(?) with an animal figure in the air above them, a visual metaphor for, to throw to the wolves. The poem is a love poem to Fiona Maddocks who was living in Oxford prior to her marriage to Phillips in October 1995. Phillips poem: "Be nice to an artist in June [visual image = don't throw him to the wolves], surprise him in London and taste his picture, o women adore art tomorrow." This is one of two versions of page 91. -- Source of annotation: Marvin or Ruth Sackner.

This second version of page 100 contains colored abstract markings and is divided into three panels. The center panel is painted with white curved outlines and the two side panels are painted with black outlines. The poem now reads, " I lived in London I am only suburban - terrible pictures in the words - the words slipped from him, but art like a knife gave him surprise and pleasure," -- Source of annotation: Marvin or Ruth Sackner.

This poem written for Salman Rushdie and printed in Merely Connect is composed of eight blue-grey and purple horizintal bands of color. The purple may relate to the purple centerpiece of the Indian flag, blue-grey the emotional despair of Rushdie's death sentence. The calligraphy may be Salman?, Love?, etc. but are not readily decipherible. Phillips' poem: "live the poetry, merely understand verse necessity, merely connect, butterfly triumph, poetry - let me go on, poets define value." "sr" -- Source of annotation: Marvin or Ruth Sackner.

The image is divided into six squares that each contain a circle filled with text from the printed page painted over with earthy colors. Perhaps the image reflects Phillips feelings when separating from his loved one. The poem reads, "reason was hushed or absent when she said Good-bye soft lips. - Pain behind the hours now - the hours bite. - obscure streets in hell burn used days - hours like a tree of iron found every twig unhappy" -- Source of annotation: Marvin or Ruth Sackner.

This page consists of a drawing that resembles the tapestry created by Phillips for his college at Oxford, Saint Catherine. That tapestry hangs in the dining hall and this drawing recreates that scene with shadowy figures at a long table at the bottom of the page. The poem reads, "On the tapestry, and wheels, and the uneven revelation of art - with dim eyes the dining dead remember this corner here. the wall; - letters ill legible" -- Source of annotation: Marvin or Ruth Sackner.

The page depicts two champagne glasses to symbolize a party with Toge and his friends. The names of the friends are derived from the text on the page. Phillips' poem: "quick with champagne the band of friends and toge, pete, ensor, holly orgo, ed rits strio, pat banque, Mr. Matter, bill toge, Mr. Sticki, sam toge, ted hard, len trang, chap, vera bonhomie, val occa, Mr. Mome, norma fawn, les the gay daily, ed getti, bill and tim and stan." -- Source of annotation: Marvin or Ruth Sackner.

This page was also printed in Phillips' & Rushdie's book, Merely Connect. Phillips has written J'Accuse!, used first in defense of Alfred Dreyfus in blue & yellow camouflaged letters against the left vertical side of the page and in more easily readable brown hatched letters on the right vertical side of the page. Phillips poem: "attack the attack, and rhetoric of ruin, counsel for the hat of happiness, counsel for the fiction, counsel for the art voice, counsel for the text." -- Source of annotation: Marvin or Ruth Sackner.

This page depicts a portion of a labyrinth and possibly refers to the situation that transpired to Prince Charles of England during the break-up of his marriage to Princess Diana. This is amplified by Phillips' poem: "puzzled by the experience, I'm king ding a thing, I'm king yesterday, I believe yesterday in, today you think not so, for today you are not so, not so, not so you seem not so." -- Source of annotation: Marvin or Ruth Sackner.