Download The Birth of the Letter R the tension between words

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The Birth of the Letter R
the tension between words
scott helmes
862 tuscaroa
st paul mn 55102
KALDRON 11
summer 1980
a journal of visual
poetry and language
edited and publisht
by
karl kempton
441 north 6th st
grover city
a
O
O
ca 93433
usa
1980
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0
Diary Poem #2
Diary Poem
#3
scott helmes
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via raffaelli, 2
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7110
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20405 brasil
aaron floers
monte alban 204
mexico 12 Me
from MORAVDI' BOTTLES
paula hocks
rt 4-box 225-tano rd
sante fe nm 87501
victor maneul
flores/edif
quetzal 102
cot pedregal de
cannasco/unidad .
infonavit/Mexico
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REVIEWS
ments on concrete sound poetry, other approaches to concrete sound poetry, concrete renewal, some myths of concrete poetry, a chronology of visual poetry,
books
switzerland .
a chronology of sound poetry, bibliography & discography .
WtRTERBRUCH by ernst buchwalder . st. karlistr. 17d, 6004 lucerne
from 1969 to 1978
24x22cm, 164pp, $?. . this is a collection of selected works tones,
magazines
J tones, rewhich are beautifully presented by the publisher armato. 2
CRITICAL
NINTH ASSEMBLING (also PRECISELY 6, 7, 8 & 9) compiled by richard
A
several
who
has
mastered
visual
poet
versals and color. fold outs. ernst is a
kostelanetz
. assembling press, p o box 1967, brooklyn ny 11202 usa . 212x28cm,
books
.
letters,
words
and
of
medias in order to give us his multi-layered vision
. over 150 contributors provided 1 or 2 pages of camera. ready copy
unpaged,
$10
kinetic
concrete and visual poems in 2 & 3 dimensions, cut-outs, sculptures,
tendencies in contemporary literature .' unlike the
'radical/experimental
on
and melting
sequences, diagrams, mobile, performance documentations of burning
contributor
was approacht thereby making this the strongprevious
issues,
each
jig-saw puzzeled
words, fotoes of children playing with huge letters, collages,
this an important body of criticism, most of
well
as
making
est
issue
to
date
as
calligbillboards,
knitting,
conceptuals,
words, his famous poetree in color,
the current explosion of new lit forms that
to
come
to
grips
with
which
attempts
the
brings
into
focus
rafy & more . he is not just a manipulator of matter but
big
and small publishers . the spectrum-the
vast
majority
of
are
ignored
by
.
a lyrical celebration
energy and spirit of the object handing the reader/viewer andre
to
language
art to conceptual work to poetry to
to
concrete/visual
poetry
prose
silvaire/20, rue
LE JARDIN JAPONAIS 1 & 2 by pierre garnier . lea editions
crit/hype/dump not to be found in/
to.
.
.
.
a
smorasborg
of
fotografy
to
collage
places
domat/parts/france . 15x21cm, 72pp & unpaged, $? & $?. Pierre with ease
of work. and if all these folks were
covers
.
a
bed
full
under/between
any
other
in
the
1st
signifying
space
his minimalist . elements on a page of white--white
put in the same room they'd first quickly migrate to their respective backslapaccurate eyebook and silence in the 2nd . tho he makes it appear easy with his
each other and all the other groups .
the poem unbalances ping areas and then come out fighting
balling, it aint . it's his master-touch . move one element andbipolar
bernstein
and brute andrews . 464 amsterdam ave,
edited
by
charles
TEAN-G=U=Ar-G=E
dusting .
--space and silence working with and against the black type,
unpaged,
$8/year
. 'a journal of criticism,
ny
10024
usa
.
18x212cm,
new york
vt 05875
PIANO ALBUM by dick higgins . printed editions, p o box 26, west glover
contemporary poetry and related arts.' the
writing
on
cmentary
and
theoretical
of
music
investigation
usa . 21x28cm, 32pp, $10 . these 13 short pieces are an
. all letters beprimary interest is that of language being used intelligently
music
ranging from the traditional concepts of organized sound to conceptual
the
user,
they must all
responsibility
on
a
burden
of
ing
equal,
then,
creates
played on
behavior. some can be played on the piano keys while others mustthebe viewer/reader
the lead out . crystalline structures .
purpose
.
getting
sing
equally,
have
shine
and
press scene,
theAmaginary keys of the mind where .he provides the frame and
and this is where the mug points . a rare publication in thetheamerican
provides the movement & sound.
exception,
a sense
therule,
not
.
is
displayed
as
4 box 9e, santa big or small. intelligence
MORANDI'S BOTTLES by paula hocks. the running women press, route
rather than 'here it aint.'
shouting
'here
it
is'
holding
up
and
of
knowing,
of
series
largest
in
a
fe am 87501, usa . 22x27cm, unpcVd, cloth, $50, the 4th and
PRECISELY 3 4 5/WEST COAST POETRY REVIEW 19% VISUAL LIT CRI2 edited by richard
as an object/
billed
of artist books by paula is highly complex with each page acting
kostelantz . 1335 dartmouth dr, reao nv 89509 usa . 15x222cm, 190pp, $6.language
a veil over
poem, itself a flash of lite enchantingly toast thru bottle glass,
on
visual
poetry
and
the
english
language
collection
in
as the first
lyrreality, a dream instant forever frozen . each page is also a segment in athru
in conrichard has indeed formed a first if the writers forum seriesthe'studies
the
ical journey woven into 4 parts with images/symbols/signifiers reaching
roots of the
category.
not
only
some
other
unique
is
put
aside
in
crete'
with
message
a
also
pages like lite thru a row of bottles . a bottle thrown on the sea journey's
visualization of language with many striking illustrations are examinedandbutconline
of delits, the message creates itself within the confines of theand electrostaticcontemporary scene of technological
looking
into
the
there
are
essays
people
of travel, the line is a huge hose sucking in dreams, collages
ceptual influences . other essays deal with specific individuals . some
is nothing more than a strong
ly reproduced.
however,
this
volume
rite
about
themselves
.
even
$50
hardHEADS & BODIES 3 by paula hocks . 22x27cm, 50PP, $30 plastic protection,
beginning for the new and open field of visual lit crit . there are many strong
journal,. is a
bound. book 3, unlike 1 & 2 which are random entries in a travel
visual theorists missing, especially from canada and england . the essays by
specifically lined trek thru one place following a narrative line of thin thread
Marcus, higgins, doria, kafelanos, essayy & porter contain enuf strength to
can never be
entwined around emblems of a remembered dream . but the exact place
endure the harshness time blows across open fields .
showing a white
and carlo
recaptured which she underscores by somehow casting without ever
ZETAs RIVISTA INTERNAZIONALE DI POESIA 1 edited by franca campanotto
by
pressed shadow reproduced
Italy . 16x22cm,
via
michelini
1,
gauze over each page . each visual poem/collage is atreated
33100
udine,
conti
.
camyanotto
editore,
marcello
with color work and/
poetry, visual
xerox machine, some of which are then individually
262pp, 11,000 lire/year . contains a host of contemporary prose,
artists
. the bulk of
or pastings .
poets
and
familar
and
unfamilar
and
language
art
by
. vernum, poetry
stuff
of
the urban reSIGN AND DESIGN, THE PSYCHOGENIC SOURCE OF THE ALPHABET by alfred kallir
matter,
the
dense
the
heaviness
of
work seems to focus on
hardbound, 6 pounds .
most of it has a function
2 the square, richmond, surrey, england . 15.x232ca+ 346pp,
spirit
.
since
lacking
high
energy
and
sponse/reaction
in
of the alfabet
several cases .
what began as a flash of insite into the psychological origins
i am not objecting to this slant due to the strength presented in represented
rite, is billed as the
in
many
countries
1943 and which eventually took 20 years to research and
are
frequent
.
this
size
weak
works
but
with
a
mug
around since
first coherent psychological analysis of the alfabet . it has been unconscious,
tongue
.
native
1961 . building his case on the Jungian concept of the collective with 442 figures
catalogs
the universality of symbols, he amply illustrates his argument
dept,
of ritten language exCATALOGUE 1 . the international concrete poetry archive, liberal studies
--cave painting, hieroglifs, pictoglifs, runes and a host
queen at,
Michael's
hall,
31
with
his
renaissance
studies,
st
foenetic
elements
for
medieval
and
grafic
and
centre
globe.
he
correlates
amples from around the
archive deattempting
oxford oxi ler, england . 21x292cm, 32pp. $--price of postage . thedonate
studied insites from mythology, history, linguistics and psychology
works .
and
visual
poets
to
thruout
he
presents
on
the
generosity
of
concrete
&
acoustic
.
pends
entirely
to prove a bisferic field in semantics--optic
to be pure
the catalog is a list of archive contents with 4 full pages of examples, some
bipolar symbolism, particularly male and female, some of which . seems
stimulating .
of which were lifted from previous issues of KALDRON . other illustrations are
sexism . its first 200 pages focus on a, b & c & g. interestingtoday's
behavior
knots
by
projecting
blended into the lists . send work to paula claire who is preparing a supplement
invisible
but i find him in places tying
onto
the
past.
for may of 1981 .
and today's assumptions of the past
d'assel- CITTA A POESIA (available from ZETA) . 152x21cm, unpaged, $?. the visual poetry
AUGENTEST by kurt mautz . verlag eremiten presse, postfach 17 00 29, 4000
from
. the
exhibit was held in march of this year in imola Italy with over 80 poets
dorf, west germany . 12Zx19cm, unpaged, 18 marks . the title means eye test
page.
reproduced,
one
per
the
later,
almost
30
works
and
permutations
.
were
Italian
.
typograms,
collages
nations
.
over
presented
with
15
2
reader/viewer is
. international museum of
ELECTROWORKS edited and compiled by marilyn mccrayrochester
all In german, which i am unable to read tho iv been informed by a translator
ny 14067 usa . 23x
900
east
ave,
i
agree
.
eastman
house,
use
of
a
dictionary
george
photography,
that these are sophisticated and enjoyable . with
of which are colored,
31cm, 80pp $?. over 50 xerox art reproductions, most
examples from this book are to be found in this issue and are reprinted with
. Illustrates
some language art, were selected from the show's total of 245tho
permission from the publisher .
this art form
office
machine
.
london
from
a
mere
wyndham
road,
development
editions
brian
lane,
162
electrostatic
art's
wolf-rehfeldt
.
CONCRETE by ruth
exciting
vitality
a
maturity
and
book
in
a
series
of
already
displays
the
first
infancy,
it
this
is
still
In
its
is
se5 oub, england . 1Ox15cm, unpaged, $?.
concrete
future
.
i
contains
one
page
dazzling,
7
which promises a
little xerox publications by editions lane . t
of KALDRON . clean THE INFLUENCE OF CALLIGRAPHY ON COMTEMPORARY ARAB ART . Iraqi cultural centre
poems by ruth whose work has appeared in the 3 previous issues
. 21x29Jcm, unpaged, $?.
visually
gallery, 177 tottenham court road, london wl, england
and precise typewriter work. she takes a word or more and poems it/them
played
a significant role in
script
has
long
of
the
arabic
signifier
or
picture
.
the
visualization
image,
symbol
or
by creating its
and poetry . I
various aspects of arab culture including drawing, architecture
visual
poetry and
anthologies
ancient
and
medieval
opinion
that
the
long
held
the
press, have
ALPHABETICAL AND LETTER POEMSs A CHRESTOMATHY edited by peter mayer . menard
portions of the globe easily rank among
the
Islamic
composed
thruout
language
america
by
23 fitzwarren gardens, london n19 3tr, england .--distributed in2 north
.95- the world's best and i have equally as long wondered what the contemporary work
pounds/$6
102pp, .95
have a strong
sbp, 1636 ocean ave, kensington ca 94707 usa . 15x23cm,
. I now, thanks to peter mayer who sent me this catalog,
poems this book is important offeredthis
no
doubt to me
leaves
but
5
in
color,
as the first chrestomathy of alfabetical and letter
of
works,
all
publication
39
hint.
language
its antedazzling,
as
for two reasons--its impact, what is going on/in the poems regardingJapanese
remains
as
of
language
that the ambit visualization
and
poets and language artists
and these poems range from hebrew, anglo-saxon, nordic, Icelandic,
of
visual
international
community
the
cedents
.
that
concretei and
middle english translations to contemporary poems including
to bring our Islamic peers into shows and pubone finds should do all that is possible gifts
it is a key opening the door to new possibilities . in the introduction
to share .
they
have
powerful
licationss
mayer's which in
giovanni fontana . tam tam,
this to be only a small collection from a .larger anthology ofTHE
OGGI POESIA DOMANI edited by adriano spatola and
ALPHABET
.
THE
POETICS
OF
turn Is but chapter 14 of a work in progress.
Italy
.
17x162,
$?. 147 reproductions,
parma,
95PP,
43020 molino de bazzano,
forum.
CONCERNING CONCRETE POETRY edited by peter mayer & bob cobbing . writersorigin30 countries from the visual and sound poetry
represent
3
4
to
a
page,
or
5
" 50"
262 randolf ave, london w9, england . 21x30cm, 135pp, 2 poems/$7
show held in 1979 frosinone Italy. very strong body fo works . essays in genthis
ally compiled in 1971 but remaining unpublisht until its 1978 updating,research
eral are in Italian, some in english .
contains
3rd in the writers forum series 'studies in concrete poetry'
yin
&
sound
&
antithesis,
thesis
search & reach, contension & counter contension,
METROPOLITAN FRACTALIZATION by tarry wendt . 15 hawthorne, #115, sun joss ca
pages of visuals formyang by a mitey host of folks in 85 pages of text and 50 which
this tape of 6 works
date back to the
95110 usa . 55 minutes, cassette, $6.95 . before describing
ing .thelargest body of statements and criticism--some of scope i'1
available
sound poetry .
the
large
body
of
i
unfamiliar
with
give you the
I must say that am
illustrate the
19 tens and earlier--iv read to date. to
me unimpresst and uni
have
heard
has
left
manifestoes,
few
exceptions
what
little
and
with
statements
some
historical
table .of .coptents,s,the term concrete,
willing to seek out other work. wendt's work is definitely one of these excepon concrete aspects of poetry, shape meaning sound, on semantic poetry, state-
tions and has instilled in me a desire to seek more. in 'rain, stream and speed'
for example he chronicles the evolution of train from a symbol of destruction
to that of a diety using, as the tape's title suggests, fractalization . generally the fractalization one comes across in both visual and sound poetry is
noasymmetrical, but larry here and in other pieces seems to bass his fragmenting on the geometry of fractiles, systematic and symmetrical reduction. using
the futurists' accents he composes a piece from flash gordon movie sound tracks .
In another, a 4 voice sound text produces a modern laborer's work day. 'There'
takes one inside the horror chambers of modern medicine, the hospital, where the
long boring wait and endless intercommed instructions produce a trip on the
river styx . and more . i find width, depth and great heights in larry's tape
of sound poems .
bern porter tape segment
stenograft by marla baize
retyped by karl kempton
ONE CONTINUOUS EXPLORATION THRU THE EYE
there is barn porter, a father of founds . and then there is barn porter the
atomic physicist, painter, editor, cartografer, poet, illustrator, sculptor,
engineer, urbanologist, publisher (among the many: henry miller, parker tyler,
kenneth patchen, robert duncan, philip lamantia, kenneth rexroth, James
schevill, antonin artaud and pablo picasso), foto collagist, bibliografer,
essayist and teacher. two publications devoted to his life and wide variety of
difficult
locate .
by the poet James schevill,
THE kROARING AMA
AND THE SILENT TOMB, is out of print but i was able thru
inter-library loan to read a copy from the state library in sacramento . the
COLEfLIBRARY QUARTERLY devoted 66 pages in 1970 to a symposium on barn which is`
still available as a hard bound xerox reprint for $4 .00 (colby college, watervilla mains 04901) . also, dick higgins' introduction to barn's I'VE LEFT
provides a brief sketch
LG
. the purpose of this article, which is based and lifted
on/from conversations and a taped monolog with barn during his visit here in
december, is to focus on his found work, to provide insites missing in the above
mentioned books and to discuss some of his available books .
born on valentine day 1911 . from 1918 to 1922 barn's father brot home every week
a sunday paper publisht by hearst .if a newspaper is literature and he believes
it is, at the age of 9 this was the only literature he sax . he read every word
and became aware that his understanding didnt impede his visual enjoyment, his
visual excitement . he began to understand visually thru his eyes ; it didat
matter what they meant, the words were exciting, and he would cut them out to
paste into a scrapbook. (for those who like economical deterministic accents,
as a child and young adult barn never had much money. his childhood was spent in
poverty. as such his attempt to learn how to see and to be stirred by seeing was
done with little expenditure of money .) later, maybe 10 years, in parts francs
he met some people who were also doing this and among them were people from
switzerland, some who were later to help found the bauhaus. in 1936 & 7 they
showed him examples of what he had been doing and they had been doing. so here
in effect were separate approaches to the excitement of words on two continents
independent of one another. thru the years he has embroidered this talent for
seeing, finding detecting. he just seemed to respond without consciously seeking, hunting ; just stumbled onto these things . then he discovered the act of
finding could be extended by removing surrounding materials with scissors and by
blanking out. since the age of 9, this has been a continuous attempt to develop .
his eyes, to develop_ the act of seeing to a very high degree so that all the
details are taken in.
seeing he found involves not so much the object itself but the space around it,
the space it occupies, which it turns out is almost as important as the object
itself . in fact the thing itself can not be defined without defining the space
around it and the space it fills . he feels it is unfortunate in this course of
seeing that the factors of comprehension, understanding and meaning come into
play because they destroy the thing. he looks for the truth of the thing seen,
its validity in its own world, its quality of completeness, its quality of being
independent of its surroundings . the instant one attempts understanding, reasoning or wrestling with it, it disappears . so this is a feeling experience thru
the eyess 'the act of seeing, comprehending thru seeing without mind intemspting
or explaining or reasoning or coding the thing, with traditional expression or
traditional feeling or traditional beauty aside, the thing itself free of explanation. let it explain itself .' it has its own validity ; it can be a letter
on a page or any 3 dimensional object . one must undertake to feel that life.
reason and or description brings instant death.
in francs in the 40's, found materials from the 1920': were publisht . it is not
unusual for his work to take 20 years to reach publication. in the early 1950' :
his work appeared in Italian . Japanese, gezaan and anglish anthologies but no
anthologies in this country. and somehow born was ovdr lookt by the concrete
anthologies of the 60's and 70's, even in this country. perhaps what he was doing was too remote he says, remote in form and remote interns of his geografic
location hidden away in mains . except for something else press and abyss he has
publisht his own books, most of which were only one or two of a kind--these are
now housed in the university of california at los angeles library. and it took
decades before his founds were publisht in book form . when publisht by dick
higgins' something else press, they were called FOUND POEMS (a hu=ge selection,
100' : upon 100' : including works from the 1920' : in a 21x28x2Jcm book in 1972
--available in limited number from serendipity bookstore, 1790 shattuck aye,
berkeley ca 94709, $3,45) . however, born objects to the title preferring founds :
like the way people find stones on the beach, bits of glass, worn plastic, odd
shaped fragments of things during a walk, wood grains, cracks in a sidewalk,
etc . the breath taking aspect of this book, aside from its size and obvious
importance and the fun one has with it, is that the book contains a host of
work predating what is generally called the 'concrete poetry movement' .
barn has 4 unpublisht manuscripts between 2 & 4 thousand pages each. all are
founds . DO'S are basicly instructions, do this, do that . DONTS are the contrary
form. he found things called DIDS representing things he did, done by him in a
short time space with/to the object . works taking longer to make he called
DOMES. selections from these works and others, GEE-WHIZZELS and HOLY SMOKES,
for example, have appeared in a host of little magazines thruout europe . and
because of his wide and frequent travels, europeans constantly approach him for
'what's new in the usa?' .
DIERESIS, ART REPRODUCTIONS, THE WASTE-MAKER (which he considers his classic),
RUN-ON, THE MANHATTAN TELEPHONE BOOK, GEE-WHIZZELS, I'VE LEFT, and WHERE TO GO/
WHAT TO DO/WHEN IN NEW YORK/WEFdX OF JUNE 17, 1972 are all available from barn
porter, 22 salmond, belfast, mains 04915 usa. each book costs $12.50, except
for I'VE LEFT which is $8 .50 . postage is included .
I'VE LEFT, A MANIFESTO AND A TESTAMENT OF SCIENCE AND ART is a collection of
essays wedding science and art which have been for too long considered separate
entities in spite of the fact that the creative flash for both comes from the
same energy source . he utopias poets and poetry, dadas and surreals male clothing, insideouts theather, reassembles architecture, fresh-airs art, returns . food
to growing, untenses tension, junkheaps cars and then appendixes definitions of
sciarch (sci pronounced sky), sciart, scidra, scipai, scicom, scilit, scimus,
scipoe, sciths, & sciscu. as fresh as the day ritten, some of which date back
to 1939. this is a reprint from 1959 that he publisht in australia explaining
why he had left the usa. fortunately he returned .
reviewing or describing his visual works sets up a contradiction within the force
field exhibited and alive on a page or a series of pages that stack up as a book .
to minimize destruction i x111 compare and contrast two books, GEE-WHIZZEIS and
WHERE TO GO . . . . both are 21Jx28cm with coated pages to hiten the visual experience . 'gee' is a slang term expressing mild surprise and 'whiz' is a slang term
meaning one who has remarkable skill . b y xhizzeling whiz he tosses a new twist
and thus dimension onto the term which he then uses to surround each found and
prepared found as a silent vibration, tension. white or black space also surrounds
the viewed/felt object, be it letter, word diagram or collage, playing the significant defining/filled role . each page relies on itself, its own world of being.
while it is true that each page in WHERE TO GO . . . relies upon its individual
identity for expression, it is also untrue because this book is a unit of founds,
cut founds and prepared founds made, for the most part, from a what-to-do-xhilein-new-york magazine available for free to tourists, a magazine found in hotels
and paid for by the places where one is enticed. he turned this found magazine
into an artist's book with fold outs and inserts in order to .increase seeing/
feeling. he rote me 'i hate people who read founds, who don't see/feel them.
the fold outs are intended to strangle the bastards, wrap around their legs,
arms, etc, mostly throats .' the pages are much denser than the other volume giving the eye more seeing work, forcing the eye to work harder at the staring
business necessary to produce after-images and to discover otherwise hidden
forms.
karl kempton
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marla baize
369 n 10th st
graver, city ca-93433 .-
xilliam fox
1335 dartmouth dr.
reno nv 89509 usa