Visual Poetry


Book Description

A great photograph has the potential to transcend verbal and written language. But how do you create these photographs? It’s not the how that’s important, but the who and the what. Who you are as a person has a direct impact on what you capture as a photographer. Whether you are an amateur or professional, architect or acupuncturist, physician or photographer, this guide provides inspiration, simple techniques, and assignments to boost your creative process and improve your digital images using natural light without additional gear. Chris Orwig’s insights—to reduce and simplify, participate rather than critique, and capture a story—have made him an immensely popular workshop speaker and faculty member at the prestigious Brooks Institute. His engaging stories presented as lessons follow his classroom approach and highlight what students say is his contagious passion for life. In this accessible and beautifully illustrated four-color guide you will: Discover visual poetry in the creative process Use less to say more with your subject matter Learn to see light, color, shape, and expression Understand what gear is essential Create compelling portraits Make lasting memories of your family and kids Capture the outdoors and adventure Begin the transition from amateur to professional Chris also includes exclusive interviews with such photographers as: Steve McCurry, Chris Rainier, John Sexton, Rodney Smith, Joyce Tenneson, John Paul Caponigro, Marc Riboud, and Pete Turner. Share your work with the author and other readers at www.flickr.com/groups/visual-poet and visit the Web site: www.visual-poet.com.




Reading Visual Poetry


Book Description

Visual poetry can be defined as poetry that is meant to be seen. Combining painting and poetry, it attempts to synthesize the principles underlying each discipline. Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art. Although they continue to provide visual cues that aid in deciphering the text, they function simultaneously as visual compositions. Whether the visual elements form a rudimentary pattern or whether they constitute a highly sophisticated design, they transform the poem into a picture. Reading Visual Poetry examines works created in Spain, Latin America, France, Italy, Brazil, and the United States. While it attempts to recreate the historical and cultural context surrounding each of the works in question, it is conceived primarily as a series of readings-or rather as a series of readings about reading. This book seeks to interpret a number of poems, which, despite their apparent simplicity, can be difficult to decipher. It explores the process of interpretation itself, which, like the compositions, can be surprisingly complex.




Howl


Book Description

Beat movement icon and visionary poet, Allen Ginsberg was one of the most influential poets of the twentieth century, and broke boundaries with his fearless, pyrotechnic verse. The apocalyptic 'Howl', originally written as a performance piece, became the subject of an obscenity trial when it was first published in 1956. It is considered to be one of the defining works of the Beat Generation, standing alongside that of Burroughs, Kerouac, and Corso. In it, Ginsberg attacks what he saw as the destructive forces of materialism and conformity in the United States at the time, and takes on issues of sex, drugs and race, simultaneously creating what would become the poetic anthem for US counterculture.




Inheritance


Book Description

They tell me to “fix” my hair. And by fix, they mean straighten, they mean whiten; but how do you fix this shipwrecked history of hair? In her most famous spoken-word poem, author of the Pura Belpré-winning novel-in-verse The Poet X Elizabeth Acevedo embraces all the complexities of Black hair and Afro-Latinidad—the history, pain, pride, and powerful love of that inheritance. Paired with full-color illustrations by artist Andrea Pippins in a format that will appeal to fans of Mahogany L. Browne’s Black Girl Magic or Jason Reynolds’s For Everyone, this poem can now be read in a vibrant package, making it the ideal gift, treasure, or inspiration for readers of any age.




Poetry Comics from the Book of Hours


Book Description

Beautiful mutants, vagabond scuba divers, lovers with disordered gorilla hearts: These poetry comics place the lyric and the grotesque, the elegant and the despondent, side by side in one emotionally intense panel after another. At the vanguard of a movement that embraces our increasingly visual culture and believes poetry has an essential place therein, Bianca Stone redefines how we think about poetry, what we expect from comics, and how we interpret our own lives. Although reminiscent of illuminations by William Blake, Thomas Phillips's A Humument, and more recent visual-poetic hybrids by Mary Ruefle and Matthea Harvey, Stone's comics feature a mixture of dreamy expression and absurdist wit that is entirely her own. Her watercolor panels are filled with anthropomorphic horses and baffled ballerinas that guide the reader through the poet's graphic dreamscape: "I was moving like a monsoon through a forest. I was thinking about where I saw myself in two thousand years... And where I saw myself was a tiny subspace ripple sliding through the corridors with a plastic horse in my hand." This book, its own small universe, erases genre distinctions between the visual and the literary, and offers readers a poetic vision of artistic possibilities.




Geographic Tongue


Book Description

In Geographic Tongue, an important addition to the Pleiades Press Visual Poetry Series, Rodney Gomez weaves together themes of loss, identity, ethnicity, heritage, and the mechanics of contemporary life to create a collection as lyrically arresting as it is aesthetically stunning. These visual poems, crafted with both restraint and vitality, are visceral in their depiction of cruelty and grief at the United States–Mexico border. And yet, this charged landscape also gives rise to moments of tenderness, stillness, and wry humor. Gomez’s visual design is at once vivid and haunting, drawing together collage, diagrams, and abstract imagery into a bright, geometrically precise collection. His text casts such a powerful spell that in its absence, silence is heard as clearly as any phrase. Gomez writes, “You don't have to speak to speak truth,” and this lucid assertion is borne out in the collection as a whole. In its art, and in its silence, the poems of Geographic Tongue are undeniably and indelibly authentic.




Modern Visual Poetry


Book Description

Far from frivolous playthings, modern visual poems represent serious experiments. Together with other members of the avant-grade, the visual poets sought to restructure the basic vision of reality that they inherited from their predecessors. This statement describes contemporary visual poets as well who, like their earlier colleagues, strive to say things that are more meaningful in ways that are more meaningful."--BOOK JACKET.




The Aesthetics of Visual Poetry, 1914-1928


Book Description

In this, the only full-length study of the visual poetry of the early twentieth century, Willard Bohn expertly illuminates the works of Apollinaire, Josep-Maria Junow, Guillermo de Torre, and others. His fascinating aesthetic insights bring to life this elusive and often misunderstood genre. "An important contribution. Highly sophisticated, the study tends to raise its reader's impression of visual poetry in the twentieth century from trivial pastime to serious preoccupation."—Eric Sellin, Journal of Modern Literature "With his definitive analyses full of quotable observations and sharp critical insights, Bohn has provided a model, pioneering study, one from which current and future studies of visual poetry will most certainly benefit."—Gerald J. Janacek, Romance Quarterly "Bohn substantiates his thesis with thoughtful and often ingenious explications of texts both well known and hard to find. . . . Aesthetics of Visual Poetry is a thoroughly researched, beautifully written and fascinating introduction to an infinitely intriguing genre."—Mechthild Cranston, French Review




Reading Visual Poetry


Book Description

Visual poetry can be defined as poetry that is meant to be seen. Combining painting and poetry, it attempts to synthesize the principles underlying each discipline. Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art. Although they continue to provide visual cues that aid in deciphering the text, they function simultaneously as visual compositions. Whether the visual elements form a rudimentary pattern or whether they constitute a highly sophisticated design, they transform the poem into a picture. Reading Visual Poetry examines works created in Spain, Latin America, France, Italy, Brazil, and the United States. While it attempts to recreate the historical and cultural context surrounding each of the works in question, it is conceived primarily as a series of readings-or rather as a series of readings about reading. This book seeks to interpret a number of poems, which, despite their apparent simplicity, can be difficult to decipher. It explores the process of interpretation itself, which, like the compositions, can be surprisingly complex.




Book of No Ledge


Book Description

“As usual, it starts with love. I had my heart set on the door-to-door encyclopedia salesboy.” So begins Nance Van Winckel’s latest collection of poetically altered encyclopedia entries that feature a mixture of quirky social satire and absurdist wit. Entries like “The Importance of Mood to Man” use an encyclopedic tone to insist: “Your body is two-thirds water. Mood is one-third body” and “Life and health depend on the mood taken into the body each day.” An anatomic diagram of the nose is accompanied by the promise, “A nose can smell rain coming.” Alongside illustrations of the vestibule, the meatus, and the conchus can be found lines of text like, “As the one you love steps onto / your stoop / a widening wind / underscores the sky’s pummel.” Reminiscent of recent visual-poetic hybrids by such writers as Matthea Harvey and Bianca Stone, Van Winckel’s ground-breaking innovations must be seen to be believed.