August 30th, 2014
Like all the work that’s been in my blog recently, these two are from Kalligram–in particular, from the section edited by Marton Koppany called “Reducalt Nyelvek,” with an accent on the three a’s in the preceding Hungarian words:
I think I may like bright, instantly likable, pure visual poems like these more than just about anything else in poetry. I think the way I’d put it is that there are days when no other kind of poem could be so welcome–and no days when such poems would not be welcome. Well, just about no days.
August 29th, 2014
Another simple post so I can quickly go to one of my Major Projects. It’s from Kalligram, the one at the top being Eugen Gomringer’s famous “Silencio”:
It is slowly inspiring as many variations, including several by me, as Basho’s “Old Pond.” Definitely one of the world’s majorest visual poems.
August 28th, 2014
My Scientific American Blog is now here–with a complete table of contents.
AHOY! I finally got Entry 18 done. It is now here. Comments Welcome! Please let me know of any typos or gross factual errors. Warning: it’s me at my abstrusest worst–for over 8,000 words.
Later note: From time to time, I will be revising Entry 18. I hope eventually to correct all the many mistakes in the version first posted.
August 28th, 2014
This one’s by Geof Huth:
One of many interpretations of this is that it expresses my present melancholy about all the musts of my life that have turned to mist–do, needless to say, to missed opportunities (and mussed opportunities). The addition of the thick portions to the letters is, by the way, an extremely deft move. The F seems appropriate but I don’t know why. The beginning of some standard salutation?
August 27th, 2014
The following are from the same issue of Kalligram that the Poem poems I’ve been featuring here are from:
I call these textual visimages–visual art whose subject is the visual appearance of language. These are much more than simple designs, but I can’t quite put what they do into words yet. Something about alteration. Or are they about building simple things that will prove to have vast consequences? Of course, they are also “just” variations, highly elegant variations, on letters.
August 26th, 2014
Here are the original versions of two of the Poem poems I posted two entries ago:
Poem is my alter-ego, so sometimes me, but sometimes an imaginary me. The first poem in some strange surrealistic way (my intuition tells me) sums up my attempt to become a known writer, of plays mostly, during the fifteen years I spent from 1968 to 1983 in Los Angeles. I think maybe the ocean of the poem is Poem’s alter ego . . .
The second poem is about my life from 1983 in Florida, where I still am and will probably be for the rest of my life. The scene is more or less real; the heron is definitely real. My mood and thoughts (authentic) are from more than one different scene.
August 25th, 2014
I wasn’t sure what poem of mine was the bottom one in the set of Hungarian versions I posted yesterday, so had Google translate “vecen.” It gave “plumbing” for that. I thought the poem concerned was probably one I remembered with “toilet” in the title but couldn’t find it in my book, Of Poem (dbqp press, 1995), which I thought all three of my poems were from. So I had the first line translated. “Verse engineering sectors during?” That didn’t help. By then, however, I thought it’d be fun to have Google translate the whole poem back to English and put the result here:
Verse engineering sectors during
almost bllinding certainty recognize
o the greatest lines in the poem
the history of the universe.
Kuncognia had to, because he thought
hold for what everyone
I admit that.
By adding “a” before “vecen,” I got an accurate translation of the title, but most of the rest of the text was a bit off. Close enough, however, for me to find the poem in my second collection of Poem poems, Poem Demerging (Phrygian Press, 2010):
On the Toilet
Between movements, it occurred to Poem
with an almost bllinding certainty
that his were the most superb works of any art
in the history of the cosmos.
He chuckled as he thought of how long
it would take the rest of the world
to realize this.
Much thanks to Geof Huth and Arnold Skemer for publishing, respectively, Of Poem, and Poem Demerging.
August 24th, 2014
Books can not be harmed from afar the way Internet texts can.
My apologies for the stupid bold-faced enlarged blue words in my recent entries, and for the misspelled words I’ve replaced them with because misspelled words don’t bother me as much as big blue ones. Nothing I know of to prevent them, nor the miscounts I’m now getting.
Verily, I say unto you, spammers should be beaten severely, for the pain of the mental violence they visiteth upon their superiors can be as great as the pain of physical violence that should be visited on them.
August 24th, 2014
I’ve actually been semi-productive lately, getting nine reviews, two columns and an editorial done for Small Press Review, and some work on an essay that may turn into a book about boredom. Consequently, after Here are three of my Poem poems in Koppanaical Hungarian:
They are from Kalligram, March 2010, with sundry visual poems by such as Geof Huth, Endwar, Nico Vassilakis, Dan Waber, Karl Young (also in Hungarian) . . . Marton Koppany’s doings, needless to say.
August 23rd, 2014
I thought I ought to display one of the wholly textual poems in the book by Guy Beining I’ve been featuring lately, such poems making up the bulk of the book. So below is one–next to another great collage, with a terrific name: