This work consists of drawings that are mounted on panels to form a labyrinth. The pages of the book consist of reproductions of the visual/verbal works of Haack vertically placed in the midst of dense, printed text on the top and bottom of the page. The text is written in a stream of consciousness style in German, English and French. The Sackner Archive holds a wall piece of similar, stylistic, page drawings by Haack . -- Source of annotation: Marvin or Ruth Sackner.

The image in the drawing accompanying this deluxe edition of the book is adapted from or served as an earlier study for the fourth reproduced drawing in the book. Its design consists of a reproduced drawing from the work with calligraphic text printed on a facing page. -- Source of annotation: Marvin or Ruth Sackner.

This print is cited and depicted in Claus' catalogue raisonne (Erwachen an Augenblick Spachblatter) as G55 (page 286). Carl-Friedrich Claus was born in 1930 and died in 1998. Twenty copies of this print were made for Galerie Arcade of which five were printed on chine colle; 35 copies were printed on weisse und chamoisfarb Butten and 20 copies on chine colle auf Butten. -- Source of annotation: Marvin or Ruth Sackner.

This drawing has small areas of green watercolor enclosed withinn an irregular ink border. -- Source of annotation: Marvin or Ruth Sackner.

Every other page consists of a sequential listing of names of people written in black ink enccountered by Noel overlaid by a page written in red ink of the circumstances. The original manuscript that inspired this book is also owned by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Warck-Meister handwrites the phrase of the title using a glue gun in a continuous path of attached letters. The translation of the title is "I construct my desire." The phrase adjacent to it and upside down reads, "I destroy your desire." -- Source of annotation: Marvin or Ruth Sackner.

The egg is engraved with the title, perfect imprint, embellished with an original engraving enclosed with a text by Michael Gluck. This book object was delivered with rolled, uncrumpled pages within the shell. Their removal caused them to crumpled. The texts are egg shaped and printed on Tibetian paper with one raised, ink and gold leaf illuminated letter per page. -- Source of annotation: Marvin or Ruth Sackner.

Each page of this book is a collaborative poem. -- Source of annotation: Marvin or Ruth Sackner.

This drawing as well as many of other works by Basinski is performed by Basinski in his unique, extemporaneous manner. Basinski writed in an accompanying letter, "Here in paper work from mailed FISH FRY (A favorite in Catholic Lent old time buffalo - I find it most amsusing (sic) like a spring rite of passage). Hope you are well and thank you for adding FISH FRY to your marvelous collection." -- Source of annotation: Marvin or Ruth Sackner.

This work was purchased from the exhibition "Textiles/Fibers/Threads: The Book Show" at The Center for Book Arts, New York. The exhibition was curated by Kumi Korf and Charlotte Thorpe. Hensel describes her work as follows: "The words we all speak and think link together in sentences, disjointed phrases, odd web structures, broken threads and dangling participles. The words rush out of a vein, they cascade over all our experiences. This particular piece is about those threads of conversation left unfinished, dangling out of context, with sometimes unexpected consequences. At the time that I wrote this piece, I was thinking about the cruelty of teenage girls and about the half-truths and innuendos we hear on the news daily. This is a meander through the effects of impulsive adolescent conversations and rumors." -- Source of annotation: Marvin or Ruth Sackner.

This print is one of the proofs for the first edition of Phillips' Dante's Inferno. The completed prints were destroyed in a fire at the Editions Alecto studio and never published as an edition. Phillips subsequently redid the prints in a different manner although he borrowed some of the imagery from the first edition. The prints in a limited edition and a trade edition book were published by Phillips and Thames and Hudson, respectively. This print illustrates the canto in which Dore depicts Charon rowing a boat in the river Acheron in a lake with Phillips' comments from A Humument with the words, "bitter boating." This work was shown at the Sackner Archive during Art Basel Miami December 2001. -- 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.

This print is one of the proofs for the first edition of Phillips' Dante's Inferno. The completed prints were destroyed in a fire at the Editions Alecto studio and never published as an edition. Phillips subsequently redid the prints in a different manner although he borrowed some of the imagery from the first edition. The prints in a limited edition and a trade edition book were published by Phillips and Thames and Hudson, respectively. The print depicts a bust of Dante with a Humument text that begins, " six now, - with him there, the foremost in Europe - that poets of poets..." This work was shown at the Sackner Archive during Art Basel Miami December 2001. -- Source of annotation: Marvin or Ruth Sackner.

This print is one of the proofs for the first edition of Phillips' Dante's Inferno. The completed prints were destroyed in a fire at the Editions Alecto studio and never published as an edition. Phillips subsequently redid the prints in a different manner although he borrowed some of the imagery from the first edition. The prints in a limited edition and a trade edition book were published by Phillips and Thames and Hudson, respectively. The Humument text of this print reads, " master -- if these trees could talk, what hard observations were in that ache of wood." This work was shown at the Sackner Archive during Art Basel Miami December 2001. -- Source of annotation: Marvin or Ruth Sackner.

This print is one of the proofs for the first edition of Phillips' Dante's Inferno. The completed prints were destroyed in a fire at the Editions Alecto studio and never published as an edition. Phillips subsequently redid the prints in a different manner although he borrowed some of the imagery from the first edition. The prints in a limited edition and a trade edition book were published by Phillips and Thames and Hudson, respectively. The Humument text of this print reads, "truant and hiding, could I such a step? - I could I could I could I could I could - I must - a suicide of tragic temper - made mistakes with me - I long to come back to my face once more." -- Source of annotation: Marvin or Ruth Sackner.