“Concrete Poetry isn't really one type yet a cluster of percentages, all falling within the Intermedium among semantic poetry, calligraphic and typographic poetry, and sound poetry.
It first crystalized out of those previous modes within the early Nineteen Fifties within the works of such humans as Eugen Gomringer (CH), Carlo Belloli (IT), Dieter Rot (IS), Öyvind Fahlström (SW), the Noigandres staff (Haroldo and Augusto de Campos, Décio Pignatari and others, BR), Carlfriedrich Claus (GDR), Gerhard Rühm, Friedrich Achleitner and H.C. Artmann (AT), Daniel Spoerri and Claus Bremer (DE), and Emmett Williams (US, then dwelling in DE). in recent times a moment iteration of significant figures have extra to the flow, together with such humans as Hansjörg Mayer (DE), Ladislav Novák and Jiří Kolář (CZ), Edwin Morgan and Ian Hamilton Finlay (SC), Bob Cobbing (EN), bp Nichol (CA), Mary Ellen Solt and Jonathan Williams (US), Pierre and Ilse Garnier (FR), Seiichi Niikuni and Kitasono Katue (JP) and lots of others.
The actual fact of the looks of parallel paintings kind of independently in such a lot of international locations and languages exhibits one of many precise facets of the circulation, particularly its resource being within the improvement of a brand new mentality within which values turn into fused and inter-relationships validated on a extra advanced undeniable than was once the case within the purer, past modes of poetry.”
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Additional resources for An Anthology of Concrete Poetry
In Poe’s searing December 1835 review of the anonymously published Norman Leslie for the Southern Literary Messenger, he identifies the author as Theodore S. Fay, “nobody in the world but one of the Editors of the New York Mirror” (541). This calls attention to Harper and Brothers’ latest advertising scheme, which has offered the book—the book par excellence—the book bepuffed, beplastered, and be-Mirror-ed: the book “attributed to” Mr. Blank, and “said to be from the pen” of Mr. Asterisk: the book which has been “about to appear”—“in press”—“in progress”—“in preparation”—and “forthcoming:” the book “graphic” in anticipation—“talented” a priori—and God knows what in prospectu (ER 540).
Poe’s Composite Autobiography 21 Summer” (Mabbott 942). Here the word “Indian” anticipates Poe’s linkage of North America, especially the United States, with Poe’s Eastern site of British colonial warfare. ” The uncertain background of the storyteller for “Mountains” may be read as British, rendering it more attractive for reprinting in European periodicals. C. 20 Nothing could be further from the truth. While wealthy amateurs may have engaged in vanity publication of their own writing or even that of ghostwriters, the life of an American writing for a living was in Poe’s time quite different.
According to the 1836 “Letter,” Poe is merely recycling his declarations of 1831 (5–11): These detached passages . . have vigor and much originality-but of course we shall not be called upon to endorse all the writer’s opinions (5). ”12 By calling the twelve sections (separated by sets of three or more asterisks * * * laid across the center of the page) “detached passages,” “Letter” further disavows responsibility for internal consistency. Finally, critics often locate signs of “much originality” in even the most insipid prose.
An Anthology of Concrete Poetry