——concrete poetry begins by assuming a total responsibility
before language: accepting the premise of the historical idiom as the
indispensible nucleus of communication, it refuses to absorb words as mere
indifferent vehicles, without life, without personality, without
history——taboo-tombs in which convention insists on burying the idea.
——the concrete poet does not turn away from words, he does
not glance at them obliquely: he goes directly to their center, in order to
live and vivify their facticity.
——the concrete poet sees the word in itself——a magnetic
field of possibilities——like a dynamic object, a live cell, a complete
organism, with psycho-physico-chemical properties, touch antennae circulation
heart: live.
——far from attempting to evade reality or to deceive it,
concrete poetry is against self-debilitating introspection and simpleton
simplistic realism. It intends to place itself before things, open, in a
position of absolute realism.
——the old formal syllogistic-discursive foundation, strongly
shaken at the beginning of the century, has served again as a prop for the
ruins of a compromised poetic, an anachronistic hybrid with an atomic heart and
a medieval cuirass.
——against perspectival syntactic organization where words
sit like “corpses at a banquet,” concrete poetry offers a new sense of
structure, capable of capturing without loss or regression the contemporaneous
essence of poeticizable experience.
——mallarmé (un coup de
dés——1897), joyce (finnegans wake),
pound (cantos, ideogram), cummings,
and on a secondary plane, Apollinaire (calligrammes)
and the experimental attempts of the futurists-dadaists are at the root of the
new poetic procedure which tends to impose itself on a conventional
organization whose formal unity is verse (even free-).
——the concrete poem or ideogram becomes a relational field
of functions.
——the poetic nucleus is no longer placed in evidence by the
successive and linear chaining of verses but by a system of relationships and
equilibriums between all parts of the poem.
——graphic-phonetic functions-relations (“factors of
proximity and likeness”) and the substantive use of space as an element of
composition maintain a simultaneous dialectic of eye and voice, which, allied
with the ideogrammatic synthesis of meaning, creates a sentient “verbivocovisual”
totality. In this way words and experience are juxtaposed in a tight
phenomenological unit impossible before.
——CONRETE POETRY: TENSION OF THING-WORDS IN SPACE-TIME
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