Scope and Contents Dr. Bohn writes that this "study seeks to analyze Guillaume Apollinaire's literary and artistic reception by members of the European and American avant-gardes during the early twentieth century...tracing the impact of Apollinaire's ideas as they radiated outward in increasingly larger circles from Paris...limiting the period to 1920 in Europe and 1930 in Latin America...and restricting the study to the avant garde of the major European and American nations."Bohn reviews the close relation and influence of Apollinaire to Mario de Zayas, his "calligrammes" or concrete poems as they would be denoted today, in the periodical, 291. Further, he points out that Apollinaire was first recognized in America because of 291. This book is heavily slanted to the influence of Apollinaire on Spanish and Latin American poets. Indeed, Bohn lucidly reviews the works of some obscure (to Americans) Latin American visual poets like the Mexican, Juan Tablada. -- Source of annotation: Marvin or Ruth...

Scope and Contents

Bohn analyzes Apollinaire's exhibition catalog dealing with Leopold Survage and Irene Lagut using calligrams of prose as the vehicle for his critique. Bohn is especially intrigued with the rare handcolored edition of the catalog that he mentions is owned by the Columbia University rare book collection; it was the only copy he was able to find. Just after publication of his book, Bohn visited the Sackner Archive and learned of its handcolored edition - too late to include in the book. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Serving as the director of '291' during its brief but eventful existence (March 1915-February 1916), Marius de Zayas was the first to introduce the visual poem to America, writes Dr. Bohn. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents It should be noted that Bohn does not differentiate concrete poetry (words only in Sackner's definition) from visual poetry (integrated words and images in Sackner's definitions). Bohn also includes a chapter on digital poetry. The back cover reads the following. "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...