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“Concrete Poetry isn't one sort yet a cluster of percentages, all falling within the Intermedium among semantic poetry, calligraphic and typographic poetry, and sound poetry.

It first crystalized out of those prior modes within the early Nineteen Fifties within the works of such humans as Eugen Gomringer (CH), Carlo Belloli (IT), Dieter Rot (IS), Öyvind Fahlström (SW), the Noigandres workforce (Haroldo and Augusto de Campos, Décio Pignatari and others, BR), Carlfriedrich Claus (GDR), Gerhard Rühm, Friedrich Achleitner and H.C. Artmann (AT), Daniel Spoerri and Claus Bremer (DE), and Emmett Williams (US, then residing in DE). lately a moment new release of significant figures have extra to the move, together with such humans as Hansjörg Mayer (DE), Ladislav Novák and Jiří Kolář (CZ), Edwin Morgan and Ian Hamilton Finlay (SC), Bob Cobbing (EN), bp Nichol (CA), Mary Ellen Solt and Jonathan Williams (US), Pierre and Ilse Garnier (FR), Seiichi Niikuni and Kitasono Katue (JP) and lots of others.

The actual fact of the looks of parallel paintings roughly independently in such a lot of international locations and languages shows one of many distinctive features of the circulation, particularly its resource being within the improvement of a brand new mentality within which values develop into fused and inter-relationships confirmed on a extra advanced undeniable than used to be the case within the purer, prior modes of poetry.”

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His public school, Charterhouse, never became a place to which he escaped from family, as so often was the case for Victorian and Edwardian young men of the privileged classes. In every way possible, he misunderstood the rules of the community in which he lived. He accepted the relationship encouraged by single-sex schools and had a romance with a younger boy, for Graves an idealistic relationship suitable for a knight and his lady, as this poem, ‘‘1915,’’ shows. After describing life in the trenches as the seasons pass from the warmth of spring to a Keatsian ‘‘yellowing Autumn’’ to a winter when he was ‘‘knee-deep in mud or snow,’’ Graves professed the love that saved his spirit: Dear, you’ve been everything that I most lack In these soul-deadening trenches—pictures, books, Music, the quiet of an English wood.

Though the two versions are close, I quote from the first except where Graves’s revision includes a reflection missing from the first version. The continuing effect on Graves of trench warfare was then called ‘‘neurasthenia’’; we now call it ‘‘post-traumatic stress disorder’’ and have heart-rending experience of many wars as proof of the imprint of battle on the psyche. Although he says he was a friend, not a patient, of W. H. R. Rivers during his period of recovery after the war, Graves subscribed to Rivers’s conflict theory: that dreams reflected the unresolved problems of the day.

To escape, or at least mitigate, ‘‘the emotional intensity’’ of such poems as ‘‘Reproach,’’ in Whipperginny Graves evoked legendary beasts such as the White Doe and the Unicorn, and commonplace characters such as John Doe, who cuckolded and so inspired the envy of Richard Roe. These poems, seemingly conventional tales, are more exactly seen as Graves’s telling of his fearful muse and of his anxiety lest he lose her: the White Doe of his inspiration in traditional terms, and the John Doe of his personal anxiety.

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