a propos the last post (below):
"Many . . . literary journals [of the early 20th c.] . . . printed photographs of paintings and sculpture, thereby invoking a general revolution in the arts and urging us to mark similarities and difference between the literary and visual avant-garde. It is, however, very difficult for academics [and apparently non-academic poets, too, one could add] to read this way, since it works against the way they are trained in traditional disciplines. The counter-reaction is also apparent. The Fugitive aimed to have almost no physical presence; anticipating the aesthetic that would dominate conservative magazines in the 1950s, its neutral typography and layout was designed to project the poetry it printed directly into the imagination. Poetry, for The Fugitive, was a spiritual not a material phenomenon.
"The cumulative evidence of the illustrations in this book should demonstrate that the material presentation of texts can significantly increase the kinds of meaning they can be used to produce."
- Cary Nelson, Repression and Recovery, p. 218.
I would only add that in some of the poems he presents, it is difficult to distinguish between "the literary and the visual" - for instance, the collaborations between Marius De Zayas and Agnes Ernst Meyer - or Walter Steinhilber collaboration with Langston Hughes in "Advertisement for the Waldorf Astoria."
I guess if The Fugitive wanted to be disembodied, the web would be a good place for them today - tho since they were conservatives, they'd probably be fetishizing print. There certainly is a lot of "neutral typography and layout" amongst literary web journals. And sure, things have progressed - many journals include visual art. And literature. But rarely mixed.
Bob Brown, Stevie Smith, Robert Grenier, Kenneth Patchen, Eleni Sikelianos, Cecilia Vicuna, Anne Waldman, Anne Tardos, Stephanie Strickland, Roberto Tejada, Theresa Hak Kyung Cha, Jenny Gough, Jena Osman, Debra DiBlasi, Mark Nowak, Tan Lin - et alia - you can add to the list. So it's not such a weird thing anymore. And it's not that image-text writing/composing is being suppressed. It's that not many people are doing it. I would like to encourage it.
At the New Orleans Poetry Festival, April, 2017 - Eileen Tabios, Tim Dyke, Lo Mei Wa and myself before the Tinfish Press reading.
6 minutes ago