ArchivesSpace at the University of Iowa

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 This detailed scholarly study of modern visual poetry defines and illustrates this international movement with particular emphasis on materials written in English, French, Italian, Spanish, German, and Catalan. Bohn writes, "For all intents and purposes, visual poetry can be defined as poetry that is meant to be seen - poetry that presupposes a viewer as well as a reader...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 the title of this book connotes 'visual poetry,' the examples chosen are verbal poems without incorporation of visual imagary . Bohn aptly dissects the meaning of several concrete and visual poems in this book. He is particularly enamored of the shaped poems of Jose Juan Tablada as well as the Spanish Futurists. The concrete poetry movement is researched in...

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...