Concrete poetry is a form of verse where the shape of the poem on the page conveys meaning. It challenges established notions about language and images, and was part of a larger movement in art and literature. It must be seen by the public and is sometimes called visual poetry. It preceded later trends in marketing and publishing.
Concrete poetry is an experimental form of verse in which the shape of the poem on the page conveys an important part of its meaning. Concrete poets can arrange words to form a shape or even to suggest an image. This form often somewhat reinforces the theme of the poem. A concrete poem about flight or freedom, for example, may take the form of wings. Concrete poetry is part of a larger movement in art and literature intended to challenge the public’s established notions about language and images.
Although earlier poets had experimented with form and form, the term “concrete poetry” was not coined until the mid-20th century. During this period, changes in society were reflected in bold new works of art that re-examined the fundamental tools of art and the very idea of art. Novelists like James Joyce and William Faulkner altered language to suit their own purposes, and poets like ee cummings arranged words on the page with equal disdain for earlier forms. Concrete poetry was the ultimate consequence of this verse movement. The importance of the form of the poem brought form closer to the visual arts, where the image provides the meaning.
The period following World War II was a time of experimentation in many art forms, including poetry. The new form was employed by British and German poets alike. A 1956 exhibition in São Paulo, Brazil focused on concrete art, meaning both poetry and similar experiments in various art forms. By its nature, concrete poetry must be seen by the public; it is sometimes called visual poetry. One variation, called a phonetic poem, depends on the sounds the verse creates and is meant to be read aloud.
A well-known concrete poem is George Herbert’s “Easter Wings,” with its words arranged to look like birds. In Herbert’s time, such constructions were known as model poems. One of the most famous concrete poets was Guilliame Appollinaire, French champion of new experimental forms in the 1920s and 30s. In addition to his poetry, Appollinaire wrote about daring new visual artists like Picasso. He was deeply involved in the Surrealist art movement; in fact, he is credited with inventing the word “surrealism”.
Concrete poetry is similar to the manifestos created by the Surrealist movement, where words took on unusual shapes on the page. It also preceded later trends in marketing and publishing, where the placement of words on a page or screen is carefully arranged for maximum impact. A company logo, for example, can convey important information to potential customers through its choice of font, color and placement. In comics, artists like Chris Ware employ creative typography as part of their overall design, giving words a role in art similar to concrete poetry.
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