anthology of concretism

Anthology of ConcretismAuthor(s): Seiichi Niikuni, Adriano Spatola, Hansjörg Mayer, Aram Saroyan, MaurizioNannucci, Burkhardt, Heinz Gappmayr, Alain Arias-Misson, Jiri Valoch, Timm Uhlrichs,John Furnival, Frans Vanderlinde, Henri Chopin, Maurizio Spatola, Emmett Williams, ArrigoLora-Totino, Pedro Xisto, Carlo Belloli, Dick Higgins, Gerhard Rühn, Edwin Morgan, DomSylvester Houedard, Kitasono Katué, Jean Francois Bory, Mary Ellen Solt, Jaroslav MolinaSource: Chicago Review, Vol. 19, No. 4, Anthology of Concretism (Sep., 1967), pp. 3-144Published by: Chicago ReviewStable URL: http://www.jstor.org/stable/25294139 .Accessed: 20/12/2010 05:32

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Seiichi Niikuni 3

?t?a rain

5 55

??

"I

stream

bank

Il

immmmmmmmmmmi lUimmwmmmijimmi'jH immuimmmmmmiMN imuimmmmmmiM#i'JW immmmmmmiMNMH imwmmmmi#wwwiM iuiuii;ii;ii;ii?hw#iwww ii;imi;n;ii#iWN#wwwi

iijiijiiwww#iwn*n*n*h iuii?mî#iîiHw>iîîî#i nî'>M^|^|^|^l?N^?M#|#|^|

I I

4M MA MA MA MA MA MA MA MA MA MA MA MA

g Adriano Spatola

1 X

i i i i i i 1 i i i i 1 i i i i 1 1

i i i i i i i i

X X

i i i i i i X i i X 1 X 1 X X 1 X X i i i

X X

i i i i i i

X X

i i

X X

i i i i i i

i \ X X X X X X X X X X X X X i X X

X X

i i i i i i

X X X X X X X X X X X X X X X X X X X X X X X X X i i X X

i i

X X X X X X X X X X X X X X X i X X X X X X X X X X X X X X X X X X i

X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

? h ? b ? b ? b ? b ? b ? b e e

/ X e e

e

e

e

e

e

e

e

e

e

???????????????? ???????????????Ao ??????????????AAoo ?????????????AAAooo ????????????-oooo ???????????"-ooooo ??????????AAAAAAoooooo ?????????A AAAooooooo ????????AAAAAAAAoooooooo

?A?^AAAAAAAAAAAA 000000 000000000

??????**^*' A

oooooooooo ?????A'v'v'wv'wwv'v/v'vooooooooooo AAAAAAAAAAAAAAAA 0000 000000000000

gggAAAAAAAAAAAA^0000000000000

AgAAAAAAAAAAAAAAooooooooooooQO

****************0000000000000000

12 Hansj?rg Mayer

ar?zghypgxofwneym dulctkbsj

gxpfwhevmdulctkbs ?arizqhyp mdulctkbsjarizqhy pgxofwney bsjarizqhypgxofwn eymdulctk

hypgxpfwnevmdulct kbsjarizq

nevmdulctkbsjariz ghypgxofw dkbsjarizqhypgxo rwneymdul

izahypgxqfwnevmdu. Ictkbsjar

qrwnevmdulctkbsja rizahypgx

dulctkbsjarizqhyp gxofwpevm ?arizahypgxorw?ev mduktkbs

pgxofwneymdulctkb sjarizqhy

eymdulctkbsjar?zq hypgxofwn

kbsjarizqhypgxofw neymdulct

qhypgxofwneymdulc tkbsjariz

fwnevmdulctkbsjar ?zqhypgxo Ictkbsjarizqhypgx ofwnevmdu

o o o

o o o

o

o o

o o o o

o o

o

o I

I

o I

I

o o

o

I I

I I

I I I

I I

I I

I I

I I

I I I

'%WA II Ii i UUWi A4w0W-wt

^ ii?Mi8M( --- -----

sau

aus

usa

22 Aram Saroyan

lighght

crickets cr?ckess cricks s s cricssss crisssss crssssss csssssss

ssssssss ssssssts sssssets sssskets sssckets ssickets srickets crickets

wwww

wwww

waww

wakw

wake

walw

walk

crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets crickets criokets crickets crickets crickets crickets

28 Maurizio Nannucci

i i~~~~~~~~~~~II

i ? ~! i I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~I

I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I~ L r I

n~ I

on II v ~

maamrt

?SXSXS8X*

?ms

18*

S

32 BURKHARDT

chochLochwennLo c Lo oc ochLochnichtsLochLo

chLoch och mehroc Loch 0 i ocLooc Loc ocL oc Loch LochLoc ch Loch Lochwe n n Loc h Loc !ochLochLochum Lochoc

LochLoch n chtsh oc ocj4 Io t~.Loc h LochwasLoch L(

/hD ohLpdochLochLc Loc ocnLoc ochlocl

34 Heinz Gappmayr

Origin unknown 36 (adapted from antologia noigandres 5)

silences in tribute t

o SILENCE j cage

alain arias-misson

words & plastic struc

ture selected at rand

48 om

silence of Butte silence of motivity silence of Euphorbia s ilence of ite, missa est silence of litigant silence of embl em silence of polite

silence

of Portland silence of dog's e ar silence of entwist

silence

of chaw silence of Gueudecour

t silence of ramsons silence silence of fermail

silence of designable

silence

of sacramental silence

silence of muddy silence of indecent silence of chrom

ato silence silence of over-capitalization silen

ce silence of rarefactive silence of divalent si

lence silence silence silenc

e silence of phylo

silence

of prefix silence of

diplomatize silence of

netherward

silence of develop silen

ce silence of break silence of maik silence

silence of indigent silence silence of me et silence silence silence of nig si lence of Pressburg silence of Maeander silence of obvious s

ilence of flask silence silence of pub silence

silence silence silence of

pit silence of county

silence

of quarter silence

silence of recur silence of superior maxillary silence of

curacy silence of medicinable silence of reservation silen ce of Lauraceae silence of man-at-arms silence of premorse silence of professor

silence

of deeply silence of Kt. ?ile nee of consignable silence of ointment silence of erly sile

nee of brandish

silence

silence of choriamb

50 Heinz Gappmayr

du

ich

you

I

A

V* Il

etwas

something

n

door

obscurity

<$ ̂ | sound

58 Seiichi Niikuni

nnnnnnnpwiPinnnnnnnnn nnnnnnnnnr?nnnrjnnr?nnr! nnnnnrinnnpinnnnnnrinrin nnnnnnpinnnpinririPiririPiPin pipinpipipinnnpinnnnnnpinnn

nnnnpimnnnpinpinnnpinnn npinnnnnnnnnpipinpinpinnn nnnnnnnpiPiPinnpinnnnnnn nnnnpiPiPiPiPinnnnpiPinnpinpi fffffffffffffffffWfff ttf tf f f f f f ffffffffff ffffffffffffffffffff ffffffffffffffffffff ffllftffff ffffffffff ffffffffffffffffffff ffffffffffffffffffff tffffffftf ffffffffff ffffffffffffffffffff ffffffffflfffff?ffff ?l?tfffffflflfftffff ffffffffffffffffffff ffffffffffffffffffff ffffffffffffffffffff tffffffffffftff?ffff ffffffffff ffffffffff ffffffffff ffffffffff ffffffffffffffffffff ffffffffff ffffffffff ffffffffff ffffffffff ffffffffffffffffffff ffffffffffffffffffff ffffffffffffffffffff

dish

blood

imnnnnnnnnnnnnnnmimiminniinrmnnimnnnnini nniftii?nifarfnifliifntft?i?iflirf?iifnrti?i?iftiift?i??iniI im rfii rfn rfn rfn rfn rfn rfn rfn rfn t?a ifft rfn rfn rfnrfn. ifit J??HL jnutojajfrjajuu^

Mj?LJ?lIJ?LJflIJ?LJfllJflLJfLJfLJfLJfllJfc ?TTl JEjflufojfcjfcjfi?jfajfcjfcJ?LJfcjfcjfojfojfc^ rfn ifn nn inirfnifnifnrfnrfnrfnrfnrfnrfnrfnrfnrfnrfnrfnifti? lili rftl ? ? Iftl ? Ifn j?LJfiLJfcjfiLJfiLJflLjflLJflLJ?LjfiL if?l IIIL nnifn?lftl?rfPrfPlfrrfnrfnrfnrfnrfnifnifliifnrftiifnini nnrfii?rfniftlrfl??ifrrfnrfnrfnrfnifnrfnifr?lfni^ini ?lII?rfnrfnrfnrfnrfnrfnrfnifn ifnifnrfnrfnrfnrfnrfnlin fni???IUlrfnffnrfnffnrfnrfnf?nifprfnrfnrfnrfnrfnrui iniifel?hifnrfnrfnrfnrfnrfnrfnrfnrfnrfnrfnrfnrinrinrin?ni liniftiiforfnrfnrfnrfnrfnrfnrfnrfnrfnifr^ lu?, ? t?a jfoj?LJfiLJ?LJ?LJftLJ?LJ?LJ?LJUL ? iftl l??l ? t?aIHI IIR rtli ifti ifti i?i ifti ifti ifr? ifii ifnifniftiifiTifniftiifttrtn rtli fm IIRrfn rf?t t?a t?a, t?a?Ai?iifti.lili.rfn t?a t?a t?aj?u?u?LinL IIR rfn ? ? rfn t?a, t?a, t?a, t?a rfn ? j?l rfn rfn rfn rfn jflufajn. ?TUrfn?rfn?rfnrfn??rfnrfn?rfnrfnrfn iftufiumJIL nni?irihiftiifert?iftiiftirtni?ifni?hrtiifh?fi?rihifrifnnn im un un un im im im nn im nn nn nn nn un im nn nn nn nn

62 JiRi Valoch

u: u u~~~~~~~

I~ ~ ~

kA "

6!j. tiram uhlricha

roseroseros er?se

roseroseroseroserose










eros

66 John Furnival

When i

irr

Marines njreddc? Marines hyed dov?n iVr

?r?ncs.were

l??MM?fJJM

*I."!--UM

N'AWwnMBffl?^:i:>> KBfLjS??B^

M?r?ri i\ittpliitH'ous

aIivdSSO proud of ny Marines I could hardly tMk"

??Reuters

g^@j=SJV E)@G^?

? i ;u

W/mUL-WA'

KCQB?

?Mlllil!E ?rsiaMiisifti

i?fci:iM:.-..i

mmmammm.

:wz?K REUCION 3*?aa>W

VATICAN SHELVES 'NOT GUILT

V

f

j&n ^ .wok??

4L<& <^ PA8TMINU8 PI

??a

o"pB

o~ 0 l 0

#0~~~~~~~~~~

00~~~~~~~~~

-w~~~~~w

T3r a ^0 IIU yoA

72 Frans Vanderlinde

E L

C I

r i

i

r

r

i t i i

NRTIDN

n n r i c i\

run

11 i

n rr ri\ r r

NCn HNIlT

N CH PN RT

N CR RN RT

I

CN

DN

PN

The arms

of Caesa

r from A

lexander

until...

74 Henri Chopin

bombA

bombB bombC

bombD

bombE bombF

bombG

bomb H

bombl bombJ

bombK bombL

bombM

bombN

bombO

bombP bombQ bombR

bombS

bombT

bombU bombV bombW

bombX

bombX

bombT borabZ

poem to be

read aloud

1 as a language

76 Maurizio Spatola

Ill

m m

78 Emmett Williams

%, /v\

V

* ^n

b a A P

k

dfevtn poo* "-^

80 Arrigo Lora-Totino

ZEN

82 Pedro Xisto

86 Emmett Williams

u d

Y Y

9fr ,J 're./ wx*l XOT TOXiePcL PT a b .t v Pj sh 1 2 ? t?? s'WIWOA I MM I AOWIWaHl d br/strum n Z"< .1 "U HAOOAH sh^ftfo D n\e!

* Up K " .'

Q N U

JTtrfvH eAMMA tfteWG.Q,Va y" m L

"i p . ;. *;^rM*?iv:"?rfriirk-. : 9 ' p , 9

c VS* & 5 n

I 1 .ft/' f

Vs *E% R Rft sf w 1, .p t V B

u Y

y y

0 v*-"'^1*?' -p'-eJP*{

water water water water water water water water water water water water

water colorless color transparent water voice and voice water sea drop

sphere a hand water vertical sky a mouth water plain river a house water

thread rock a flower water rain face a child water clouds atmosphere goods

well echo a village water ice crystal an eskimo water sun leaves a

woman water boat silence a man water sky medusa moon water horizon

eye fish water ship water men water palm sun voices voices sun palm

water men water ship water fish eye horizon water moon medusa sky

water a man silence boat water a woman leaves sun water an eskimo

crystal ice water a village echo wall water goods atmosphere clouds water a

child face rain water a flower rock water a house river plain water

a mouth sky vertical water a hand sphere drop sea water voice and voice

distance water transparent color colorless water water water water water

88 Carlo Belloli

acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua



















acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua incolore colore trasparente acqua percorso voce e voce acqua mare goccia sfera una mano acqua verticale cielo una bocea acqua piano fiume una casa acqua filo roccia un fiore acqua pioggia volto un bimbo acqua nubi atmosfera d?i acqua pozzo eco un villaggio acqua ghiaccio cristallo un esquimese acqua sole foglie una donna acqua barca silenzio un uomo acqua cielo medusa luna acqua orizzonte occhio pesce acqua nave acqua uomini acqua palma sole voci voci sole palma acqua uomini acqua nave acqua pesce occhio orizzonte acqua luna medusa cielo

acqua un uomo silenzio barca acqua una donna foglie sole acqua un esquimese cristallo ghiaccio acqua un villaggio eco pozzo acqua d?i atmosfera nubi acqua un bimbo volto pioggia acqua un fiore roccia filo acqua una casa fiume piano acqua una bocea cielo verticale acqua una mano sfera goccia mare acqua voce e voce

percorso acqua trasparente colore incolore acqua acqua acqua acqua acqua acqua



acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua acqua




90 Arrigo Lora-Totino

FIMTEINFINITEINFIOTTEINFIOTTEINFIOTTEmFIOTTEINFINITEINFINITEINFINITE FIMTEmFIOTTEINFIMTEINFIOTTEINFIOTTEmFIOTTEINFIOTTEmFINITEINFINITE FIOTTEIlSTFiraTEmFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOT FIOTTEINFIOTTEINFIOTTEINFINITEINFIMTEINFIOTTEINFIOTTEINFIOTTEmFIOTTE FiraTEINFiraTEINFIOTTEINFIOTTEINFIMTEINFIMTEINFIMTEINFIOTTEINK FIOTTEINFIOTTEINFIMTEINFIOTTEINFiraTEINFiraTEINFIOTTEINFINITEINFINITE FIOTTEINFIOTTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOT FIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEmFIOTTEINFINITEINFIOTTEIlOTINITE FIOTTEINFIOTTEINFIOTTEINFIlSnETEINFIOTTEINFIOTTEINFimTEINFTNITEINFINITE FIMTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITE FIOTTEINFIOTTEINFIMTEINFIOTTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFINITE FIMTEINFIOTTEINFIOTTEINFIOTTEINFimTEINFIOTTEINFIMTEINFINITEINFINITE FINITEINFIOTTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFINITEINFINITEINFINITE FIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITE FIOTTEINFIOTTEINFIOTTEINFIOTTEmFINITEINFIOTTEINFIOTTEINFINITEINFINITE FIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIMTEINFINITEINFINITEINFINITE FIOTTEINFIMTEINFIOTTEINFIOTTEINFiraTEINFIMTEINFIOTTEINFINITEINFINITE FIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITEINFINITE FiraTEmFIOTTEINFIMTEINFiraTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITE infiniteinfiniteinf?nteinf^

FIOTTEIl^IOTTEINFiraTEINFIMTEINFINITEINFIOTTEINFIOTTEINFiraTEINFIOT FIOTTEINFIOTTEINFIOTTEINFIMTEINFIOTTEINFIOTTEINFINITEINFIMTEINFINITE FIOTTEINFiraTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIMTEINFIOTTEINFINITE FIOTTEINFIOTTEINFIMTEINFIMTEINFIMTEINFIOTTEINFIN1TEINFINITEINFINITE FIOTTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFIlSriTEINFIOTTEINFIOTTEINFIMTE FIMTEINFIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITEINFINITE FIOTTEINFIMTEINFIOTTEINFimTEINFIOTTEINFIOTTEINFIMTEINFIOTTEINFINITE FIOTTEINFIOTTEINFIOTTEINFIMTEINFIOTTEINFIMTEINFIOTTEINFINITEINFINITE FIMTEINFINITEINFIOTTEINFIlSriTEINFIOTTEINFiraTEINFIMTEINFIOTTEINFINITE FIOTTEmFIOTTEINFIOTTEINFIMTEINFINITEINFIOTTEINFINITEINFINITEINFINITE FIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITEINFIOTTEINFINITE FIOTTEINFIOTTEINFINITEINFIOTTEINFIOTTEINFINITEINFINITEINFINITEINFINITE FIOTTEINFIOTTEINFIOTTEINFIOTTEINFIMTEINFIOTTEINFIOTTEINFINITEINFINITE FIMTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFINITE FINITEINFIOTTEINFIOTTEINFIOTTEINFIMTEINFIMTEINFIOTTEINFIOTTEINFINITE FIOTTEIl^IOTTEINFIOTTEINFIOTTEINFIOTTEINFIOTTEINFiraTEINFIOTTEINFINITE FIOTTEINFIOTTEINFIOTTEINFiraTEINFIOTTEINFIOTTEINFIOTTEINFIMTEINFINITE FIMTEINFIOTTEINFINITEINFIOTTEINFIOTTEINFIOTTEINFiraTEINFINITEINFINITE FIOTTEINFIOTTEINFINITEINFIMTEINFIOTTEINFIMTEINFIOTTEINFINITEINFINITE

uepea

schwelgen um sich nicht reden zu h?ren

tun uepea

schweigen um sich nicht reden zu

qo-js tun uepea

schweigen um sich nicht reden

îjotu i?d^s mn uepea

schwelgen um sich nicht

ue9-?eMi}08 ^qoû uoie tnn uepea

schwelgen um sich

nz ue2-?eMt[0B ^qoû qo-?e ran uepea

schwelgen um

ueaoq nz ueSjeMqas ^qoû qoi;s mn uepea

schwel gen

to keep silent in order not to hear oneself speak

to speak in order not to hear oneself keep silent

Timm Uhlrichs 93

?nstant juan, a description

uanj naju njau anju

ujan aunj jaun jnau

janu ujna unja unaj

uajn aujn ajun ajnu

anuj nauj nuaj nuja

njua jnua juna juan

Dick Higgins 95

uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuduuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu

you

Gerhard R?hk 97

wand wand wand wand bild bild bild

wand wand wand wand bild bild bild

wand wand wand wand wild wild

hand wild

hand hand wild

wund

wall

picture

hand

wild

sore

100 Edwin Morgan

ASTRODOME

fAs real grass withers in the Astrodome (at Houston, Texas), it has been replaced by Astrograss.1

(news item)

all is not grass that astrograss that astrograss is not all grass that grass is not all astrograss astrograss Is not all that grass is that astrograss not all glass not all astrograss is that glass all that glass Is not astrograss that is not all astrograss glass that glass is not all flbreglass not all that flbreglass Is glass flbreglass is not all that glass Is that not all flbreglass glass that flbreglass is not all grass glass is not all that flbreglass is all astrograss not that glass

all is not grass that fibregrass

ORIGINAL SIN AT THE WATER HOLS

asp on

taneousobstreperousos tentatlousstentorianosmos

isofhys tericallysnortlngpossesofs portingshehlppopotamus3es pottingalittlefloatin

S a spf.

ARCHIVES

generation upon generation upon generation upon generation upon generation upon generation upon generation upon

generation upon

generation upon

generation upon

generation upon

generation upon

generation upon

generation upon

generation upon generation upon generation upon

generation upon

generation upon

g neratlon upon

g neratlon up n

g nerat on up n

g nerat n up n

g nerat n p n

g erat n p n

g era n p n

g era n n

g er n n

g r n n

g n n

S n S

voice

104 JiRi Valoch

h s h 1 a a 1

all a salh hlas

all a 1 a a 1

h s h 1 a a 1

a 11 a salh hlas

a 11 a 1 a a 1

h s h 1 1

a a

salh hlas a a

1 1 h s h

1 a a 1 alla

salh hlas alla

1 a a 1 h s h

1 a a 1 a 11 a

salh hlas alla

1 a a 1 h s h

106 Dom Sylvester Houedard

mmmmmmmm mmmmmm m

m m m

mmmmmm m

m mmmmmm m mmmmmm m mmmmmm

m mmmmmm mmmmmmmm

mmmmjmiimm mjiimmm mm mmmmm mm ??i??immm mm mmmmm mm mmmmm mm mmmmmmmm

mm mmmmm mm mmmmm mm mmmmm mm mmmmm mm mmmmm mmmmmmmm

mmmm mmm mmmm mmm mmmm mmm mmmm nimm mmmm mmm mmmmmmmm

mmm mmmm mmm mmmm mmm mmmm mmm mmmm mmm mmmm

mmm mmmm mmm mmmm mmm mmmm mmm mmmm mmm mmmm mmmmmmmm

mTnmmrmT|m.m mmmm mmm mmmm mmm mmmm mmm mmmm mmm mmmm mmm

mmmmmmmm mm mmmmm mm mmmmm mm mmmmm mm mmmmm mm mmmmm mmmmmmmm

mmmmmmmm mmmmm mm mmmmm mm mmmmm mm mmmmm mm mmmmm mm mmmmmmmm

mmj^mjiimrairi m mjiimmmm

m mmmmmm

mmmmmmmm

mmmmmm m

miiMmmm m mmmmmm m

mmmmmmmm

44444 444 m m

'm .SI im

plastic poem 1

plastic poem 2

kitasono katue 109

1 come? and -all the suminfl

dtamp?ng with life. |??| WmS?aMSS?S???0?m

walk widi a bucket of w. Hi surveyed the fence, ?nd i

...... .... . W "Ac ... . .....

lidP~~~~~~~?.d L. i?-i~~~~~~~~~~-X

Ginnie~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~;':'

4,0, -::; ?I ;;:;:.. ,?gl OrP., ~ -;?? -:?. I?,i M 5?':iB :?: R-5~~~~~~~~~~~~~~::i:il

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112 Emmett Williams

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she loves

she

light circle light circus

I seek light light I seek

I seek circus I seek circle

light

114 Carlo Belloli

s?

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o

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+*

?/,

luce

O

c tf

circle polar arctic circle polar antarctic circle ring circus

?rtico

?

polare

circolo

circolo

polare

antartico

circolo

cerchio

O circo

lilac

118 Mary Ellen Solt

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120 John Furnival

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122 Jean Francois Bory

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Jaroslav Molina

Mary Ellen Solt

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God's summer

Exit times

Resounds summer

Acapella answers

No one each

I nterprets sun

Vmbellar red Measures silence

?2

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%&:. W % 3^3.

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. i

Note: The aim of this anthology has not been comprehensiveness, nor

even (primarily) selectivity. Above all the objective was to illustrate

some of the effects that could be produced by this new kind of poetry, to put together

a concrete Book.

Book is an invention that is ideally suited for narrative material, therefore the problem

was to make it work also for non-narrative mate

rial. The Book had to become an environment, had to be made trans

formable, out of its structure as a book, into a kinetic and generative art object.

None of this would have been possible without the help of Alain

Arias-Misson, who undertook to contact poets in all parts of the world,

and who allowed himself to be used as a sort of postal clearing house.

Leonard Shaykin, who has been travelling in Europe, helped set up the

initial correspondence. There has been a great deal of omission of extremely important poets.

Some of this was due to production difficulties; other omissions resulted

from the mystique which the organic concept eventually became. How

much was due to editorial ignorance will be left to the judgment of

those who are qualified. Mr. Hiroaki Morino, the ceramicist at the University of Chicago's

Midway Studios, was kind enough to do, with the five and dime brush

made available to him, the calligraphy work accompanying the poems of Seiichi Niikuni and Kitasono Katu?. The customary Notes on

Contributors has been dispensed with for this issue because it was felt

that its relevance for a primarily American audience would be even less

than usual.

?Eugene Wildman

anthology of concretism

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