UbuWeb | UbuWeb Papers | Concrete Poetry: A World View Turkey, Finland, Denmark Mary Ellen Solt From Concrete Poetry: A World View (1968, Indiana University Press)
No one can say why a strong concrete
poetry movement involving established writers develops in one
country, as in Czechoslovakia, and in another you find one or
two or here or there an isolated concrete poet. Yüksel Pazarkaya
of Turkey, for instance, seems to be working as a concrete poet
in closer contact with the Stuttgart group than with poets of
the Turkish language and culture. We also learn of
Kurt Sanmark of Finland, whose poem "maskor" is
written in Swedish, through the ROT international number edited
by Elisabeth Walther and Max Bense. Vagn Steen of Denmark thinks
of himself simply as "poet" and dislikes the label "concrete,"
but his sense of the text as a word game and his use of constructivist
methods place much of his work within concrete territory.
Steen asks the question: "What
is a poem?" And he would like the reader to answer it for
himself. Probably no concrete poet has taken more seriously the
charge to the reader that it is up to him to complete the text
himself. It is even possible, Steen contends, that the reader
may make a better poem of the materials than the poet. He takes
this aspect of the question so seriously that he has conceived
of the idea of a book with perforated pages so that the reader
may tear out poems he doesn't like. Going even farther, he published
a book with blank pages bearing the title WRITE IT YOURSELF (in Danish, of course). The edition was sold out, and the number
of poems received by Steen from his "readers" was overwhelming.
Once for an exhibition he wrote on a mirror some words which in
English would go something like this: "Mirror, mirror on
the wall, who is the most . . ." and the reader was to complete
the "poem" by looking at his own face. Steen feels that
if the reader is unable to accept his texts as poetry, that's
his problem, for the poet has made his highly serious and at the
same time delightfully playful gesture. The Danish language lends
itself particularly well to the kind of word play we find in Steen's
visual text.
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