The five poems that make up the text are based upon Japanese ghost stories told by Lafcadio Hearn in his book, "Kwaiden." The book has an unusual construction in that the sleeve pages are to be opened from their sides to reveal continuation of the poem printed on the recto sides of the pages. In the introduction, Young writes, "...I make use of the three-dimensional pages: pages with insides and outsides... I hope that each reader will bring his or her own senses of inside and outside to the reading of this book. I should, however, point out that the insides and outsides interact with each other in various ways, primarily by paralleling or working against each other. The inside-outside tension should not only create a dialectical progression, but constantly turn the book on on itself and out to the reader." -- Source of annotation: Marvin or Ruth Sackner.

This work consists of a conventional poem by Karl Young illustrated by four ideograms designed by thalia. thalia's ideograms are 'Patron of Thieves,' 'Let Us Praise,' 'Exploration Turned Against Us' and 'Peace with Ourselves.' The poem 'Exploration Turned Against Us' has the appearance of a standing crane. -- Source of annotation: Marvin or Ruth Sackner.

Includes acknowledgement of financial support given to exhibition by The Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Denoted as #15 of 6th series of musical books. Consists of three blocks of hollowed painted wood that have moveable metal objects within them to give sounds when shakened. The blocks are joined together by cardboard onto which has been printed a listing of types of books, viz., A Book of Hours, A Log Book, A Workbook, A Psalter, A Hymnal, An Ablum, etc. -- Source of annotation: Marvin or Ruth Sackner.

This work is a Young's modification of a Haiku by Basho that can be transilliterated: Matsushima Ya - A A Matshusima Ya - Matsushima Ya. Matshusima is a small archipelago in northern Japan, Ya is one of the abstract, hieretic words used in Haiku according to complex rules, and A (pronounced Ah) is an aparently universal, spontaneous exclamation used as commonly in contemporary America as it was in 17th century Japan. -- Source of annotation: Marvin or Ruth Sackner.

This work consists of two, sepia-toned, photographs from WWII Germany and an ideographic drawing by thalia superimposed on each photograph. The ideograms read 'Knowledge of History' and 'Mirrors of Blindness.' -- Source of annotation: Marvin or Ruth Sackner.

This work consists of a poem by Weng Wei written half in Chinese ideograms and half in English letters. The poem is translated at the bottom of the page. The ideograms are Thalia's symbols for the words, 'wash' and 'silk.' -- Source of annotation: Marvin or Ruth Sackner.

The print was made for the Favorite Artist Show. -- Source of annotation: Marvin or Ruth Sackner.

This work is also designated as Card 30 from "Stories from the Flats." -- Source of annotation: Marvin or Ruth Sackner.

Karl Young provides an introductory essay that analyzes Ernst's scanned and electronically manipulated visual poems. The suite of poems evolve from valentine text and heart shaped forms. -- Source of annotation: Marvin or Ruth Sackner.

This broadside consists of a concrete colored poem composed of aphorisms from the Greek poet, Corinna and the labor activist, Joe Hill. Karl Young contributes an explanation on the verso related to workers' rights. -- Source of annotation: Marvin or Ruth Sackner.

Each page is folded to reveal eight sections, recto and verso. This work may not have been published. -- Source of annotation: Marvin or Ruth Sackner.

The cover is based upon a Mayan figurative theme. The poem is laid out with experimental typography. This book is also designated Salthouse #4 & 5. -- Source of annotation: Marvin or Ruth Sackner.

The poem facing the conventional poem by Karl Young is an illustration by thalia of a man's head composed of seven different symbols standing for "goodbye, farewell, so long, go on, go out, auf wedersen and adios." -- Source of annotation: Marvin or Ruth Sackner.

The book, with typography apparently derived from rubberstamped letters, is based on fragments of early Latin writing. Some of the texts were originally found on bottles, boundary markers, etc. The rest was written by Latin writers. -- Source of annotation: Marvin or Ruth Sackner.