ArchivesSpace at the University of Iowa

This page is divided into four horizontal panels. The top on is brown with white road like paintings that lead into the second panel of green lake-like drawings. In the third panel the white lines change into stars on a blue sky and the botton panel is violet with straight street lines. The text reads, "going, at the time arranged, he drove off to the dim regions of Bloom - he asked the lake, the starlight he asked he asked the street,"why do I hesitate? for go myself. write I shall never because of the diffiiculty of paper." Perhaps this is a reference to the writer James Joyce. -- Source of annotation: Marvin or Ruth Sackner.

This page is divided into two horizontal parts. The upper one is composed of small curving ink dot drawings with several streamers of bright colors over laying. The bottom portion resembles a pop art cloud with pink and brown spatterings.The text reads, "The stranger knew all of the large personages, the ultra-fashionable stars of society. - the name on my own label asking me if I were myself - all my luggage, a small bag containing my moment - adding the clouds , posting art on my pilgrimage." -- Source of annotation: Marvin or Ruth Sackner.

The top image is an abstsract orgainc form with calligraphic markings on a glowing orange background. Below is a green garden composed of leaf forms.The text reads, "hid in the child a king of light - time however increased by a pain a day as toge lurked amongst leafage. - in the gardens passion remembered - and some gardens had tears in them." -- Source of annotation: Marvin or Ruth Sackner.

The drawing depicts a quilt made from calling cards of prostitutes who leave their cards in telephone booths of the Soho section of London. Phillips made several large collages using this material at the time the drawing was made. The poem reads "in Styria hard and dirty - the Princess under three legs - came and came - come Princess - come to our room to be beaten again - she came - long and wild - and came hard." -- Source of annotation: Marvin or Ruth Sackner.

This page is divided into half. The top image is a profile of a man's head and shoulders. The bottom half is an abstract painting in orange, green black and white. The poem reads, "on their walls smiled natural art - nothing odd about that; insisted toge - girl's talk, - The smoking man I believe, collected ambiguous art - every one told me to suspect TP - As for EK ask the King and the 'Lady" The letters TP stand for Tom Phillips as does the Capitol T at the bottom right. -- Source of annotation: Marvin or Ruth Sackner.

In this image the page is divided into four pages with small colored abstract markings.The text reads, "suddenly peace with the past - the return of the sad smile at intervals - odd times and always, my times and your times ink the paper - read my voice" -- Source of annotation: Marvin or Ruth Sackner.

The image is divided into two section on the page of Chapter XXX. The smaller upper image contains drawings of orange leaves.The lower section is reminiscent of Phillips' copper word sculptures. The poem reads, "ted collected lips - too - ted smile - meanwhile a woman somehow writing newspaper columns and a frown furrowed diary. - a pen: and the dictive ink supplied by toge" -- Source of annotation: Marvin or Ruth Sackner.

This page contains a lush and complicated image. It may relate to a scene in an opera as suggested in the text. The top part contains a jungle setting with suggestions of snakes, a monkey and birds. The botton section has a figure of a person in a black robe and hat, a man in profile, a blond woman with glasses and a hobo.The text reads, " you had better explain the turning truth. - explain the opera - for He had suffered an opera all about chance - never again another painful wonder." -- Source of annotation: Marvin or Ruth Sackner.

This page consists of flame-like forms on the upper page and a green blooming flower on the lower right. The poem reads, "connect with your husband treat your husband with a nerve and a care - solely your husband his hand knowing you; right down to your shrill "stop--" -- Source of annotation: Marvin or Ruth Sackner.

This page consists of a center masculine figure on a starry background with two smaller flesh tone figures below. The poem reads, "gentle shining children stand beside you toge - One child bone; the other gravy; - watch them from the fairy balcony two small forms flitting about below" -- Source of annotation: Marvin or Ruth Sackner.

The drawing depicts a varied colored stone mosaic which in light of the poem on this page might be an abstraction of the facade of Morro Castle that opens James Joyce's "Ulysses." The poem clearly is an adaptation of Molly Bloom's closing soliloquy that ends the book: "Oh , Ah, And I said -- yes yes - I will yes - end." Published in A Humument 4th revision as page 366. -- Source of annotation: Marvin or Ruth Sackner.

On this image a blue square, green circle and figure like shadows are inside it. It reads: a strange day ago: - to kill the confronted morning moving slowly- he he - down water winding like a wandering flower the whole world among he was there walking slowly. - fifty people near her judge the grass; he overtook his old fantastic hours - haha -- Source of annotation: Marvin or Ruth Sackner.

This is a mainly an ink hatched drawing that was intended for Ciaran Carson's book of poems, Opera et Cetera, Wake Forest Press, 1996, but not utilized in the printed edition. The text is from A Human Document by Mallock. Carson's book is also held by the Sackner Archive. This small fragament contains the following poem: "monsieur art sage monsieur h - dix-huit luding I heard him claim our name - ch - hc - reve omph enderi St ! - tribute to h - ink beau-payin you with his tongue wit." The protagonist in this poem, H C, is Henri Chopin. -- Source of annotation: Marvin or Ruth Sackner.

This unpublished page consists of fragmented pages from A Humument. There is no poetic text selected by Phillips. -- Source of annotation: Marvin or Ruth Sackner.

This image reads: Blake - I know you can so very far - see the breast on every star. -- Source of annotation: Marvin or Ruth Sackner.

The prints were made from the collages Phillips created using scraps from comic books and texts from A Humument. The lines read, "together is the train two people suddenly change - she self-wounded he, conscious of some cold yesterday." The image reflects a view from a train window of a bucolic landscape with two clouds. -- Source of annotation: Marvin or Ruth Sackner.

The text reads "death? - is this not the sunshine? - lacing, playing a vagrant quesion- to elbow aside his own death - soon a sick shadow passed the air - elbow the probability." -- Source of annotation: Marvin or Ruth Sackner.

The prints were made from the collages Phillips created using scraps from comic books and texts from A Humument. The lines read, "every detail lingeringly - remembered - remembered people - remembered intrigue - and her her. Memory after memory." The image is abstract, but appears to depict a cubist form of a woman's body surrounded by images of a candlestick, books and a car among others. -- Source of annotation: Marvin or Ruth Sackner.

This image reads: Grenville took that night to bed the following company - hostess - rating - exquisite old pink park - warmth - and - huge trunks and pimroses - the old regime. -- Source of annotation: Marvin or Ruth Sackner.

The text reads "203 - in Israel. - He memory.Her echo - he her image dreaming, and her his kaleidoscope." The image show a desert landscape in the distance with fragmented trees and buildings in the foreground. -- Source of annotation: Marvin or Ruth Sackner.