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[see pdf for full text] Kenneth Goldsmith contributes a highly perceptive essay on the visuality of concrete poetry as compared to the visual arts. … -- Source of annotation: Marvin or Ruth Sackner.

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This book provides an excellent chronology of Brazilian concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

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Includes many reproductions of Hansjorg Mayer's publications. -- Source of annotation: Marvin or Ruth Sackner.

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Consists of a review of DeCampos book "Anticritico". -- Source of annotation: Marvin or Ruth Sackner.

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In an introductory essay, Mary Ellen Solt traces concrete poetry historically and analyzes spcifically the work of Lax as related to Eugen Gomringer, Augusto De Campos and Ian Hamilton Finlay. Michael Basinski and Robert Bertholf provide an essay on "Zines," a generic term for a self-generated, cheaply produced (folded and stapled photocopied sheets), radically independent magazine. The exhibition included works of 167 international, concrete and visual poets. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes a section on Brazilian concrete poetry that includes English translations. -- Source of annotation: Marvin or Ruth Sackner.

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Alexandre Wollner did the layout for this book. -- Source of annotation: Marvin or Ruth Sackner.

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This book was designed by Decio Pignatari. Haroldo De Campos contributed a critical essay on work of Braga. The visual art in this book consists of four variations of a red square. -- Source of annotation: Marvin or Ruth Sackner.

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A great deal of this PhD thesis is spent in arguments with David Seaman's views on concrete poetry. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book defines 74 basic forms of poetry, summarizes their histories, and quotes excellent examples. The essay on concrete poetry states that "concrete poems use space. They use sound. Instead of simply letting the words stand for something else, the words in the poem dramatize their meaning by the way they look. They draw attention to their physical appearance, ink on the page. The poem becomes a collage of words, letters, and other symbols that may or may not have something to do with the meaning we usually assign to them. [Concrete poets] see poetry as a visual of graphic art. They see it as something that can be abstract and that must be looked at in order to be understood. In trying to enhance the meaning of the poem, as well as to free the poem from what these poets see as its linguistic or verbal limitations, they have made typeface, symbol, shape, and the spatial relationships between letters, words and lines fundamental elements." -- Source of annotation: Marvin or Ruth...