Scope and Contents

The meaning of the concrete poems that are printed on different colored paper stock is enigmatic. The tipped-in sheet reproduces an essay on Belloli's work by Max Bense. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is an issue printed after the regular run of the periodical that ended with No.22. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This issue includes a Glyn Pursglove's essay, "An Introduction to Concrete Poetry." He states "The phrase 'Concrete Poetry' is bandied about a great deal in a way which seems to suggest that all those to whom it is applied are part of a conscious, united movement, and that they are artists whose work is dictated by a set of common and explicit principles. As anyone with any understanding of artistic 'movements' will readily imagine, this is a superficial and misleading idea. Certainly there have been plenty of explicit statements by some of the poets involved but these have, naturally, attracted as many opponents as supporters. One of the most important of such statements was 'POSITION 1 of International (Movement) for Spatial Poetries" organised by, among others, Pierre Gamier. This was not quite a manifesto, in the sense of a document proclaiming plans for the future, but rather a formalisation of a situation. Gamier was fully conscious of the difficulties, and his closing words...

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Handwritten corrections and additions were made by Max Bense. Stored together with other Archival materials for this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Includes announcements of various publications by Edition Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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Description of book from the inside dust jacket: "Liselotte Gumpel brings to her interpretation of these two strains of poetry a solid grounding in language and cultural history as well as fresh and unbiased perceptions about the poems themselves. She offers historical background, draws connections with literary concretism's antecedents in visual arts and music, and usefully applies the semiotics of Max Bense and C.S.Peirce in her descriptions of the "dicentic genres" of the East and the "rhematic connexes" of the West. Under the rubrics of teleological humanism and creative zest she explores the shaping traditions of the two movements. A chapter on significant anthologies from East and West Germany concludes her survey." The dust jacket depicts a mandala by Kriwet that Gumpel characterizes as a "Round Disc." -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Limes Nova 1. This is the second edition of the book first published in 1964. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Pocket 26. -- Source of annotation: Marvin or Ruth Sackner.

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Provides list of publications by Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

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The cover reproduces a cancelled text poem by Man Ray from his Dada period. -- Source of annotation: Marvin or Ruth Sackner.

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The title of this poem in English is up and down a steep river bank. The poem includes the Spanish word 'rio' for river as well as oro meaning gold with permutations of these letters shaped to suggest the river lapping against the bank that also contains gold. -- Source of annotation: Marvin or Ruth Sackner.

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This poster was hung in the most important exhibition of concrete poetry in its time. The numbering scheme used to classify the posters is based upon the pages of the exhibition catalogue with the same title. In this case, the poster was not depicted in the catalogue and the page reference is to Bense's biography. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book reproduces several examples of concrete poetry and reprints several critical essays. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The book reproduces several examples of concrete poetry and reprints several critical essays. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Max Bense contributed a two page critical essay. Each page depicts a single poem. -- Source of annotation: Marvin or Ruth Sackner.