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August 27, 2005

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Gregory Vincent St. Thomasino
. Indeed, he would do well to be accurate in his quotes: "the ghetto of concretism." I have maintained for years the shift to the abstract in visual poetry. (I have been writing "abstract" poetry for twenty years, and there is plenty of it online, if you like, just Google "St. Thomasino" and click around.) But why this shift to the abstract? I have put forth an answer to this question in my addendum to the afterword to Nico Vassilakis at eratio (http://www.eratiopostmodernpoetry.com/nico_v_3.html). I still maintain that Mr. Silliman, with this assertion, is at basis positive and forward-looking. But what will become of the "concreteness" of the letter? The answer, I say, is in "eidetic poetry," because 1) the mind knows the word in the figure of its substance, and 2) only "in eidos" do words have the substantiality of things. See my essay, Logoclasody (http://www.eratiopostmodernpoetry.com/logoclasody.html). . Gregory Vincent St. Thomasino .
Gregory Vincent St. Thomasino
. "Concrete poetry is a form of vispo"? Isn't that like putting the cart before the horse? Or, is it not the case that "vispo" is -- if not "a form of" -- rather a branch, an outgrowth of concrete poetry? ("Form" and "branch" are not the same thing.) . Certainly, "vispo" has taken root. But that soil, that nourishment, this is the stuff of concrete poetry and of the history of "concrete poetry." . I could be wrong, but when Ron Silliman states "the ghetto of concrete poetry," it seems to me he is praising the newness, the innovations, the outgrowths, the potential-for-change of "vispo." . The "visual poet" would do well to learn by heart the lessons of concrete poetry (and indeed of the history of "concrete poetry"). . Gregory Vincent St. Thomasino .

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