Defining Concrete Poetry

The New Concrete

something between image and language,
between art and poetry,
between anachronistic and modern,
between reason and emotion,
between constraint and freedom,
between order and chaos,
between in and between…
(Anatol Knotek)

“Language is made out of concrete things. General expressions in non-concrete terms are a laziness; they are talk, not art, not creation” (Ezra Pound)

“The concrete poet must fully accept the rigid non-sensuous character of the printed word” (Stephen Bann)

“Concrete poetry does not entertain. It holds the possibility of fascination, and fascination is a form of concentration, that is of concentration which includes perception of the material as well as a perception of its meaning” (Max Bense)

“The visible form of concrete poetry is identical to its structure, as is the case with architecture” (Eugen Gomringer)

“Visual poems offer their own unique resistance to translation or remediation because they are embodied expressions whose legibility depends on reading their graphical features as part of the textual field” (Johanna Drucker)

“A printed concrete poem is ambiguously both typographic-poetry and poetic-typography – not just a poem in this layout, but a poem that is its own type arrangement” (Dom Sylvester Houédard)

“If concrete poetry is still considered strange…this is probably due to a lack of insight into the new directions in which our society is developing in thought & action, which in essence contain a new total view of the world” (Eugen Gomringer)

The New Concrete is available to order here


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