Monday, November 3, 2008


Few visual poems these days function as poems do. Instead, they encompass a wide range of verbo-visual creations that focus on the textual materiality of language. The form includes poems written as mathematical equations, collage poems, xerographic pieces that include no words but concentrate on the meaning that has built up within the shapes of letters, and even asemic writings in invented scripts created to mean through shape rather than word. Visual poetry is written for the eye, but its methods and intentions, even in those works most limited in their verbal content, are always poetic, always compelling the reader forward into the transformative power of language, always entranced by—and entrancing through—the text that is before us.

-- Geof Huth (Click the image to read more - and make sure you visit the "More Visual Poems" link on the right to see additional work by Spencer Selby, Cecil Touchon, Mark Young, and Nico Vassilakis).

... from the November issue of Poetry.

mIEKAL aND · Robert Archambeau · Michael Basinski · derek beaulieu · Roberto Bolaño · Peter Ciccariello · Billy Collins · Bob Dahlquist · Stephen Edgar · Elaine Equi · K. S. Ernst & Sheila E. Murphy · Jesse Patrick Ferguson · Philip Gallo · Scott Helmes · Geof Huth · Adam Kirsch · Philip Levine · Joel Lipman · William Logan · Ange Mlinko · gustave morin · jörg piringer · Fiona Sampson · Jorge Sánchez · Carmine Starnino · Mary Szybist

(Check out our swell redesigned website!)

Time, too, for our podcast, charmingly entitled "The Savage Detective turns to Poetry". You get to hear Bob Archambeau, who wrote about his experience doing the podcast with us on his blog (about which more soon) - and about poetry and politics in general, here.

1 comment:

michael robbins said...

You seen this? One of our favorite Roberts on another:

Robert Creeley

Creeley was a jazz-loving "New American Poet" whose readings never softened the abrupt line breaks of his economical, apolitical, intensely decent verse. A poor musical prospect, you'd think. Yet the subtle flourishes of Tin Huey/Tom Waits/Carneyball Johnson saxophonist-plus Ralph Carney sharpen these 1988 recordings decisively. You have to concentrate, and if I hadn't been a Creeley fan in my poetic youth I might not have bothered. Now I've taken Creeley's 1962 "For Love" off the shelf -- and wish I could hear "The Way," "Sing Song," "Ballad of the Despairing Husband," and the list keeps getting longer.
Grade: A MINUS