Scope and Contents

This book is stored in a bp Nichol box. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is about how language deals with the non-verbal and about linguistic resposes to painting. Scobie writes that the unity in this book lies "in its relation to a central complex of ideas - the interaction between language and painting: the specific case of Cubism; the extension of Cubism into Concrete Poetry." Scobie provides an excellent background of Cubism's beginnings with emphasis on the roles of Apollinaire and Daniel Kahnwieler, the art dealer. He discusses the placing of fragmented words into Cubist paintings as word-play and puns.In his chapter on concrete poetry, Scobie "attempts to situate the international movement of the 1950's and 1960's within larger cultural tendencies, such as the transition from modernism to post modernism," and he reviews the collaboration between bp Nichol, the Canadian poet and Barbara Caruso, the Canadian artist. In the following chapter, Scobie deals with sound and visual poetry and concludes this section with an analyses of the...

Scope and Contents

This is an essay on Finlay's poem "Homage to Watteau." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Cobbing and Bill Smith first performed this work on October 14, 1986 in honor of bp Nichol. A special edition of the periodical, Open Letter, was produced for the occasion. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Internet: Stephen Scobie, poet, critic, professor, publisher (b at Carnoustie, Scot 31 Dec 1943). Typical of his 20 volumes of poetry are The Birken Tree (1973), The Rooms We Are (1974), A Grand Memory for Forgetting (1981) and Expecting Rain (1984), Remains (1990) and Slowly into Autumn (1995). In these, open verse forms with extensive historical and literary references commemorate, sometimes nostalgically, people and places. McAlmon's Chinese Opera (1980), dramatic monologues in the voice of Robert McAlmon, won Scobie a Governor General's Award. He published a second dramatic monologue in the voice of an historical figure, The Ballad of Isabel Gunn, in 1987. Dunino explores Scobie's Scots childhood through an intertextual invocation of Rilke's Duino Elegies; Scobie is here playing off George Bowering's earlier rewriting of Rilke in his Kerrisdale Elegies. He collaborates with Douglas Barbour in the sound-poetry duo "re:sounding," and co-authored with him "homolinguistic...

Scope and Contents Internet: Stephen Scobie, poet, critic, professor, publisher (b at Carnoustie, Scot 31 Dec 1943). Typical of his 20 volumes of poetry are The Birken Tree (1973), The Rooms We Are (1974), A Grand Memory for Forgetting (1981) and Expecting Rain (1984), Remains (1990) and Slowly into Autumn (1995). In these, open verse forms with extensive historical and literary references commemorate, sometimes nostalgically, people and places. McAlmon's Chinese Opera (1980), dramatic monologues in the voice of Robert McAlmon, won Scobie a Governor General's Award. He published a second dramatic monologue in the voice of an historical figure, The Ballad of Isabel Gunn, in 1987. Dunino explores Scobie's Scots childhood through an intertextual invocation of Rilke's Duino Elegies; Scobie is here playing off George Bowering's earlier rewriting of Rilke in his Kerrisdale Elegies. He collaborates with Douglas Barbour in the sound-poetry duo "re:sounding," and co-authored with him "homolinguistic...

Scope and Contents

The critical essay was contributed by the Canadian poet, Stephen Scobie. He states that Finlay is "a Classical artist" in contrast to "a Romantic artist." who attempts to create the artistic world out of an isolated consciousness whereas the Classical artist works within tradition as emphasized by Finlay's Hommage series to other artists. As Scobie indicates, to call Finlay a Classical artist seems paradoxical since his work appears so experimental or inventive but "Classicism" refers to -- Source of annotation: Marvin or Ruth Sackner.