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In a section entitled "A Note on the Original Edition," Phillips mentions the following, "Heartening support was given by Ruth and Leo Phillips as well as the many patient collectors who bought their copies before a picture or a line was printed. Amongst those I should particularly like to mention Marvin and Ruth Sackner without those staunch encouragement the seven year trial of making the edition would have seemed so much less suprerable." -- Source of annotation: Marvin or Ruth Sackner.

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Phillips annotates "A Dante Diary," "The Archive Copies," and the "The Notebooks." All of these works are held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is the first edition of Dante's Inferno in which both the translation and the illustrations were done by the same person. Two representive illustrations are depicted in this record. In the image illustrating Canto III, Phillips describes the changes in his notes to the book. "Not satisfied with any of the colour trials I made in the first version of this, which depicted the dreary waters of the Styx, I cut the various proofs into strips and brought different versions into conjunction, hence the appropriate half repetition of the short text which, together with the recapitulations of the same stretch of the sombre steam, suggests the monotony of Charon's task as Ferryman. The words 'bitter boating' seemed also to echo his mocking speech."In the image that illustrates Canto V from the initial proof copy, Phillips eliminated the calligraphic text of the poem, changed the background from black to gray and pink, painted a giant phallus with balls entering the vagina, printed the...

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On pages 22-23, Dan Graham presents his plan for Schema, a set of poems whose component pages are specifically published as individual poems in various magazines. This invoves participation by the editor. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

Scope and Contents Tom Phillips, with the assistance of Alice Wood, created this quilt from fragments of fabric from costumes Phillips was designing for "Winter's Tale" at the Globe Theatre in London. Phillips writes, "For Autolycus I had supervised the making of a large patchwork cloak and was fascinated to see how humdrum pieces of the cloths of the world rather than of heaven when juxtaposed sang out as rich and rare. Some of the 'dye and drab' of the cloak of Autolycus started off this present piece." The text is from a poem by the Irish poet, William Butler Yeats titled "He wishes for the cloths of heaven." The poem reads, "Had I the heavens' embroidered cloths, - Enwrought with the golden and silver light, - The blue and the dim and the dark cloths - Of night and light and half-light, - I would spread the cloths under your feet - But I, being poor, have only my dreams; - I have spread my dreams beneath your feet; - Tread softly because you tread on my dreams..." The letters of the poem are...

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Phillips' illustrations on 21 pages were based upon "A Humument" style of images. -- Source of annotation: Marvin or Ruth Sackner.

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Phillips' contributed 21 illustrations based upon "A Humument" imagery. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of a listing of works by Jonathan Williams. -- Source of annotation: Marvin or Ruth Sackner.

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The text was incorporated into a painting by Phillips entitled, "Ephemerides II." The latter is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes a selection from the typed manuscipt of Hannah Weiner's Clairvoyant Journal as well as F. A. Nettelbeck's Bug Death. -- Source of annotation: Marvin or Ruth Sackner.

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Toge refers to the male protagonist in Phillips' book 'A Humument.' This is a two dimensional wall piece with letters formed from twisted copper rods that have been brazed together. The poem employs combinations of texts from the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Toge refers to the male protagonist in Phillips' book 'A Humument.' This is a two dimensional wall piece with letters formed from twisted copper rods that have been brazed together. The poem employs combinations of texts from the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book is based upon Phillips' collaged portraits of classmates attending his primary school, which was exhibited in London at the National Portrait Gallery in 1988. Phillips sent copies of 31 images to the American Seattle poet, Heather McHugh, who composed a poem for each portrait. Phillips then interpreted the poems in the style of "A Humument." His new text sometimes reaffirms and other times contradicts the poet's intrerpretation of the pictures. The collage, conventional poem and visual poem were printed by Minsky on the same page using Richard de Bas paper, a computer, and a Canon BJ-130 inkjet printer. This copy is the only one that contains the 31 images and poems handcolored by Phillips. -- Source of annotation: Marvin or Ruth Sackner.