That they are textually interwoven, are often almost identical to central works in The Roman Quarry and Other Sequences, served as the source manuscripts for The Sleeping Lord and Other Fragments, and are related to The Anathemata obviously complicates the issue.
Composed of bits and pieces of the Roman poems, chunks of Celtic material, and sections that evoke "Middle Sea and Lear Sea" from The Anathemata, the work moves back and forth between narration and meditation, from particular speaker to disembodied consciousness, as it moves from Jerusalem to Wales and back again, apparently ordered only by Jones' associations.
Whereas The Anathemata's "end returned to its beginnings," he felt he "never managed to forge the necessary connecting links," with his earlier experiment.
Part of the problem stems from Jones' insertional method, the same method he used to create The Anathemata, another layered text where his technique resulted in sudden and often unexpected shifts.
That even the eight movements of The Anathemata are titled appears to be an afterthought, as a note Jones wrote on the typed copy sent to the printer attests: I call them "sections" as "parts" implies too positive a division, and "cantos" is ruled out as implying something properly metrical.
It still remains to be seen whether printing has "the flexibility he needed." In spite of his inability "to forge the necessary connecting links," Jones wanted his project published, as a letter he wrote to Harman Grisewood in 1962 makes clear: I think, perhaps, I may as well make public all the stuff behind The Anathemata that I had suppressed.