A Collection of Poetry in Visual Lyricism, Cut-ups and Verse
Stephane Mallarmé’s Vers concrète should have been originally translated as “Verse precise”.
Aestheticism may be perceived: Aesthetes, Decadents and Symbolists were Victorian movements which all Modern Age writers - thirty years after - revile. However, Aesthetics were and are forever at play.
“In A Station of the Metro” was published by Ezra Pound in 1913. It was considered a early work in the Modernist style even though it was written when Pound was an Imagist and took its form type from antique Japanese poetic works. Imagism — Modernism — Haikai.
Aesthetics become Standards, eventually.
The Aesthetics employed by this site are found in poetry form types, Tomorrow and Past; and, word-use. History illustrates word-use diminishes in relevance on this the Present-day as caused by Modern perceptions even though those antique words remain in use since those words previously written may still be found in a dictionary. And, so— before that eventuality finally occurs, it was decided that no single Aestheticism would be embraced: individually they would all become commonplace regardless, rendered into a standard.
Present-day poetry—These days—may not be MODERN but nevertheless remains significant. It is word-use which has the greater significance when visual lyricism has been abandoned. Mechanical methods for composition seem appropriate. Cut-ups and Erasures offer different perceptions.
Poetry is its own Raison d'être. Written pieces are mementoes: cartes de visite, hand-tinted post cards from places others have not seen, telegraph cables from Memory, and ephemeral mori. This site merely endeavors to collect those writ differently; and, wishes to advertise for all readers and writers by publishing works of visual lyricism, i.e., Verse; or, e.g., Concrete Verse, Visual Lyricisms, Imagistes, Cut-ups, Erasures, Blank Verse, Sonnets, Couplets, Sonnets-for-Two-Voices, Haiku-as-Couplet, Sestinas-digressing, Vertices, et &c.
It is a Work-in-Progress.
theysay upfloats they say up floats spirit (to heaven) indeath &hell- fire’s bill ows pl uck a fiddler’s last breath says adame inbawdy dress, ‘if by heaven’s wishes i shall sing’(no one else stooped) (no dong no ding) &the violin strai ned in soft surr ender toher wish byspi rit &ifb yyes
Brian Robert Flynn composes in several form-types. His has Calligrammes or concrete, pattern, visual or shape poetry or verse; and, others. “theysay upfloats” has a note, [ after E. E. Cummings ]. This piece is reminiscent of Cummings’s work but then so are all things which follow some work done first. Brian Robert Flynn has deftly composed his poem in a form-type created by Cummings; E. E. Cummings created a form-type much like Apollinare and Mallarmé did theirs. Poems dictate form-type unless one is writing a sonnet though not all poems can or should be structured in a concrete form: “theysay upfloats” could not have used any other form. Fortunately, Brian Robert Flynn knows things.