concrete poetry

Suffering into shape

A review of 'Atonement' by Vaughan Rapatahana

Alan Chamberlain

Atonement is the latest collection of poems by the New Zealand Māori poet Vaughan Rapatahana. It follows his 2011 collection, Home, Away, Elsewhere (Proverse, Hong Kong), and like its two predecessors mirrors his peripatetic lifestyle. Rapatahana has worked in Nauru, Brunei Darussalam, the People’s Republic of China, Hong Kong, the UAE, and Australia, and had a varied career before becoming a writer: he worked as a secondary teacher, a special education adviser, a house painter, and a storeman.

'Really, music was the cause of it'

Interview with Russell Atkins, June 2, 2016, at The Grand Pavilion, Cleveland, Ohio

Cameron Williams
Russell Atkins
This image is from Atkins’s unpublished score “Objects for Orchestra.” The dedication is to Aunt Mae, Atkins’s mother’s sister with whom he lived for many years. Image courtesy of Russell Atkins.

The poet Russell Atkins falls through all of the cracks of postwar art history.[1] Living in Cleveland, outside the geographic centers of the art and publishing worlds; caught between modernism and the postwar avant-garde; publishing in small press journals; writing generically indeterminate concrete poems, essays, and operas.

Note: The poet Russell Atkins falls through all of the cracks of postwar art history.[1] Living in Cleveland, outside the geographic centers of the art and publishing worlds; caught between modernism and the postwar avant-garde; publishing in small press journals; writing generically indeterminate concrete poems, essays, and operas. In terms of medium, his work belongs to music history as much as to literary history. Politically, he is located simultaneously in the avant-garde, behind the times, and outside the Black Arts Movement.

April 3, 2018

Stanisław Dróżdż

From Conceptual poem to concept-shape

Brian Reed

In 1977 at the Foksal Gallery in Warsaw, the artist and poet Stanisław Dróżdż (1939–2009) exhibited an installation piece titled między (“between”). It consisted of a rectangular white box, roughly eleven feet tall, seventeen feet wide, and twenty-three feet long. Inside and out, this box was covered with the letters m, i, ę, d, z, and y, carefully distributed and arranged so that at no point could a viewer spell out the word między horizontally, vertically, or diagonally.

February 5, 2016

Expression Concrète

A review of Divya Victor's 'Natural Subjects'

Felix Bernstein

Divya Victor’s new book Natural Subjects deconstructs the relationship between sentimental notions of authorial authenticity and normative models of citizenship in a way that will add some much needed bitters to your cocktail, at least if you can stomach it. The book is therefore, on a theoretical level, an absolutely refreshing and uniquely contrarian read. But on the level of the sonic and textual, it is also one of the most sumptuous, expressive, and musical books to come out of experimental poetry in recent years.

Gone is the word as word (PoemTalk #72)

Bob Cobbing, 'Portrait of Robin Crozier'

PoemTalk

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Bob Cobbing (1920–2002) — sound poet, visual and concrete poet, DIY printer, and active member of an alternative socio-poetic community in the UK — insisted that there’s no use in adding to poetry what’s already there. In “Some Statements on Sound Poetry” (1969) he wrote: “Gone is the word as the word, though the word may still be used as sound or shape.” And he added: “Poetry now resides in other elements.” In this episode, Al Filreis is joined by sound poet Jaap Blonk, phonotextualist Steve McLaughlin, and experimental archivist Danny Snelson as they approach a single work by Cobbing, “Portrait of Robin Crozier,” in an effort to identify generally those “other elements.”

November 19, 2013

Robert Sheppard on Bob Cobbing in honor of his 75th birthday

From Jacket #9 (October 1999)

Jacket2 Editors

Robert Sheppard contributed this piece to Jacket issue 9 to mark the occasion of Bob Cobbing's 75th birthday:

I visited Bob Cobbing, and thus met my first poet, on November 3 1973. I was still at school, keen to put on an exhibition of concrete poetry. I recognised this as the wilder edge of the new British poetry I had discovered through Horovitz' anthology Children of Albion and Bill Butler's Brighton bookshop. In the school library there was, unaccountably, Emmett Williams' An Anthology of Concrete Poetry. Bob was in it.

When I arrived at Randolph Avenue to collect some hansjörg mayer posters, Bob was already talking to a student who was writing a thesis on language in visual art. I listened as they talked and sounded some of the Shakespeare Kaku. I remained mute, uncertain. Bob played a tape of himself and Peter Finch performing e colony from the Five Vowels, a then incomplete project. He showed us the work in progress. I stayed for six hours literally learning the life of a poet.

Poetic sound work III

Obra sonora poética, Parte III

Hilary Kaplan
Ricardo Aleixo performing Música para modelos vivos movidos a moedas," 2010.
Ricardo Aleixo performing "Música para modelos vivos movidos a moedas," 2010. Photo by Paulo Filho.

This is Part III of a four-part essay that appears in Portuguese in Deslocamentos Críticos (Lisbon: Babel; São Paulo, Itaú Cultural, 2011) under the title "Obra Sonora Poética: 1980-2010." Read Part I here and Part II here.

Brazilian Poetic Sound Work: 1980-2010

III.

“Barulho”’s suggestion of the physicality of poetry through both its sound and sense resonates anew in the “cross-platform” work of Ricardo Aleixo.[11] In Gullar, sound functions within Poundian melopoeia, plucking noises, rhythm, and melodies out of printed words via poetic devices including rhyme, assonance, and alliteration (even as it reaches to involve the body of the reader through the idea of breath). Aleixo’s poetry combines these devices with sonic devices in means and media beyond the realm of the printed page. His most important medium may be his own performing body and voice. Through performance, he actualizes the movement, voice, lyric self, and voice-body-sound relationship that Gullar’s poem evokes.

Born to Concrete

Heide II till 25 September

Michael Farrell
Eclipse by Alan Riddell
Eclipse by Alan Riddell

Heide Museum has a distinct relationship with Australian poetry. Formerly Heide was the residence of John and Sunday Reed. John was the publisher of Angry Penguins, and so Heide became one of the nodes of the Ern Malley saga.

Poet and editor of overland Barrett Reid also lived at Heide. More pertinently for this post is the fact that the Reed's adopted son Sweeney grew up there and became a concrete poet and poetry publisher. His work forms part - you could say the heart - of the Heide collection of concrete poetry. Reed made explicit use of both Stein and cummings in his poetry; the influence of Ian Hamilton Finlay is also apparent. Reed had plans to collaborate with Finlay when he died in 1979. Though not, apparently, prolific his conceptually dense works suggest a commitment to both the construction of his work, and the construction of a place for his work within poetry (rather than within art which was the more immediate influence: his adoptive parents being art patrons and early supporters of Sidney Nolan, who also lived at Heide. Reed's biological parents, Joy Hester and Albert Tucker were also painters).

Tony Green: Big mug vodka maker

Al Filreis

Readers here might remember that I've admired Tony Green's poem-object "Big Mug Vodka Maker" from afar - from Philly to Auckland, to be specific. And as I've also mentioned here, Tony Green visited Philly, the first time in 20 years, and gave a presentation at the Writers House. We did an interview for the PennSound podcast series. He read some poems, and he also read several of his poem-objects. He bought along the one I especially admired and gave it to me. It now sits prominently on display in my office at the Writers House. Best of all, we now have for our archive a video of Tony showing this object and reading it/reading from it.

Maggie O'Sullivan

the page is a like a score

Al Filreis

PennSound's Maggie O'Sullivan page includes a recording of a discussion with Penn students in Charles Bernstein's "studio 111" seminar. Michael Nardone has transcribed the session now and here is a portion:

PENN STUDENT:
Thank you for your close reading, Ms. O’Sullivan. I was wondering if you could describe the relationship between performing your work and writing it.

O’SULLIVAN:
Well, it depends on, every situation is different. Performing it is another opportunity to re-engage with the text at different levels, and another opportunity to negotiate the text on the page.

As you’ve probably heard, I often find my work is quite difficult for me to read from the page. Writing it, I hear the sounds often in my ear. But having to perform it, all the difficulties emerge. There’s lots of disconnectiveness and disjunctiveness that is kind of working against how I sort of, how sometimes it seems it may be read.

PENN STUDENT:
Would you consider, sort of, maybe, performing it to be more body intensive than, I guess, writing it.

O’SULLIVAN:
Well, writing is a body-intensive activity, totally. Absolutely, totally. The whole body is engaged in the act of writing. Whether it’s on the computer, with using a pen in the hands. The breath is involved in all activities. But with the performing, there are others that you have to connect with, and the place of performing also figures on it.

PENN STUDENT:
A number of your poems integrate different languages, musical notes, pictures, and streaks, and they push the possibilities of poetic forms on the page. I was wondering whether this is supposed to conflict with the words, compliment them, or maybe even both.

O’SULLIVAN:
The words working as part of all this kind of radical shifting—

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