Ls-~

The Birth of the Letter R

scott helmes 862 tuscaroa st paul mn 55102 the tension between words KALDRON 11 summer 1980 a journal of visual poetry and language a O O edited and publisht by karl kempton 441 north 6th st grover city ca 93433 usa 1980 belongs to contributor --no work may be repro- duced without his/her permission except for review purposes special thanx to calm for funding this issue KALDRON is open to submissions but a self addresst & stampt envelope for return must be enclosed otherwise work will be placed in KALDRON ARCHIVE PRICES free except for postage 41¢ in north america unprotected $1 .00 with envelope $1 .50 overseas -- air freight copies of K-9 & K-10 available for same postage rates

0

Diary Poem #2 Diary Poem #3 scott helmes CALIGRAPHIC PICTURE COMPOSED OF PRAYERS

from india

I

~J~I~ I~~l~i~ H p! bektashi dervish text eyllb~ILK''dll~I9

a a L~~I'~I

islamic calligrafy curated by peter mayer dept of visual communication univ if london, goldsmith college lewisham way amulet in urdu london se14 6nw england nnnnJ~,nn)~nnnJ~,n) ~ n) Ln) Lnnn) LJ ~) ~) ~) ~) LI n) L1 L) Lnnn) LJ L1 L) L) LnJ n) LJ ~) L1 L)~,n) LJ Ln) LnJ~,) nJ L) L1 L) Ln) L1 L1 L)-~nnnJ 1Z) ~) LJ U ~) L) ~) L) Lnnnnn TV L) L) L) L) L) L) n) L) L) L) L) L) Lnnnnnnn FU L) L) L) L) Lnnnnnnr-LJ~ FU L) M) LnJVnnnnnV,n FM L) Lnn)Rnnnnnnnn n) L) Lrnnnnnnnnnnn n) Lnnn)VnnVT,nVVn ) LnnnnnJ~,)~,nnnnnn ) Lnnnnnnnnnn)~,)~,n nnnnnn)~nnnnn)~,n n,nnnn) Lnr-Ln)~,n)~,) Ln 1-L) L) L>-L) L) L) LI-Lnn) L) L) LJZ L) L) Ln) L) L) LnIV L) L) L) LTL I-L) L1 L) L) L) L) L)-L1 L) L) L) L) LFL )Z)L)LlL)L)L)L)L)L)L)L)L)L)Z )~L)L)L)L)L)L)L)L)L)L)L)L)Ln 1--t,) L) L) L1 L) L)L1 L) L) Ll L) L) Ln 1Z1 L)Z) L) L1 LI L1L) L) L) L) L) LIB, 1--L) Ln) L) L1 L1 LJ L1 L1 L1 L1 L) Ln nnn) L) L) L) L) L) LFLJ L) L)VZ nnn}L) L) L) L) L) LTA) L) L) Ln nnnn) L) L) LTV UV L) L) TL LFLnnIV L) Lnnnr-L) LJ LT-L J LnnnnnJ LnnnnrV Ln 1 L)~l)-t,>-t,nnl~t,nl~I-LnJ~t,nn 1 Lnnnnl-L)ZI-L)-LI-LI-LI-L)-Ln

MYwlrww1r' IYy1it YYNl liilY 1YYYYYMWYii11AYyYY1~ mio 1~YwwY 41YYM vu t wyY wywflywyYYwYrwYwwr~wr rwYwYwYWYw moo*""rlwyYyYyY YwwYywwywYww w wow YwYwwwywwMy I y+~wyhlyyyYMY~1I/1wMyyl~y1II~y1~1I11wwYl~wwy1wyi1~/1wy~1 1YIywYYlryMltl Y w~YYWYWYYWYYYYYWYYYYWYWYYYYYYYWWYYtirw wYwwMww wwyyyrwIr - Yyy1yyyWYY ~~ Ytitw 1~wmwMyw IItMY y1 Iwywwy1rw1ly YWyY~wy - IYiY1l yyY w y10M10 fA A lYwY AFA fAAA AIA AIAI AlA A 1h A~hlA A AIAIA AlhlA w fAIA -I!!!!!yyyYw11 go A h h A A A fi A A A A A A yYYyyY ~A~ . AlAIA lA A A=A;fAIAlA M~ A A A AfAfA + AfA AfAfA, 1 1"1* h 0 A A h AIA A AfA AfA ASA ~1010 w~ f A ~ .Mw MY yi~t111wt11Y111 f AAAfAAA A A A AfAAA Y1~YwYrlit AIA AAA A h'0IAiAAA M YYR A A h AIAIA A A AsfAfA hfA hlwwywYyy lAfAAIA A Af ww w 4111=11111111111111 AA AI AIfifAtA AAA ^ AIA h A A - A AfA AIA,A. 1~wW ew IA y""t;1 111110141110114 h 4 A A Af4 A A!AIAlA A III AiA},~AlA A A A AiArAIAIAIA w A AIh1AIAlAfA -A 41"i^~"r"I" MM Mti!!IIM ~A AAA A AIA A AfAfAfAIAIA AfA AIAlAlAlh h A A As"IAfAIAfA IA A'AIA AIA AA A AfA AIAIh1F A AfAIA~4 A A A A AlfilAfAfnfA AA fhifi+A A A A A A AInIA {. A n'AIAIFiA A A A A h " A A AfA AIAIASA - AAAAIA AIAfA~AIAfA AfA2.AIAIAIA A A A A ,A ArAIJAlA AIAfA A1A1A AlA A^rAfA A AN 11r.r A AIAr As~1AIN'~IA AAA h AfA h A AA IAIAfAJA1h A A A A A AfA A AIA fA~ A Afn AfAfA AAA AlAfA3A F Ai A iA1A A Ar A .~ A A A AIA 1~ IAIA A AjAlA1AIF A ~ A A AfAfA AlAIA ~ A

A A AFAAAIIIffA A I l r A A AIAfAO AIAIAIAIAIA AIAI lA A Al AIA 141A F fA A,AIAIAIA A A AlA AIA %fAr A A1AIAtAIa + h A ~''1"rAl~ AIAI"i"r ,A,A,A AIA A A AtAIA A r rArAlnr A A AfA A A1A A IArh k A A A A A A h f l f I fAI I I" A A APIAIAIAIAIA A A AfAAAAAAA It rr r A AhAA " nt^r r AIAIAIA

~hhhAAh1A1~ItAh h 1 N A~t

iIItlIltll i tltlt1111 1 p1111it~thh tlII111111t~11111111111 1) 11111 g111111 YIYIYIYIVIYIy lY 1Y1YlY I 1 111 l y ylylylYlytylvlylyiy V 111111111 h ~Ah 1tF1 rv 1 1 I 1 i t yyVYyyyyyy vYlY 11111 1', I I 1 I t x4x1 1 1 1

ylylyl yi~, .~ J:~ - ylYlylyly~l~iliilllt~Ihh11~ hh~l~t~ vivlvlvly ~"1~ :JJ - vlVlyly~ y h ILIYIYIy Iltllllll ~II/Ih ylyl ylyl y=:~'J : YlYly 1 1111111 I lylylyly ylyly J:j au : I=T I~ yl yt y w ,T)1 4 MIN: u:IJzo: '~'~ VVYT~ 11 IW :Auuu: Y 1 III 111 Rra. 1 11-;11111 l yl~l yl'1 : Y 4 M11111 III 16 I~IyI 11111111 I 1 IVIY i'IYIVIVIVI .~y l4 111 11111 111111 y~llytlytltlyyyyyy y 111 111 1 u 1 11111 ylylylytylylylyl wl  111 111 1 1)111111T 111 11111 w Itnlh IIt11t111111111111tI11111111111 11111 11111[1111111111111 11111111111 III 1111,1, 11111 11111 11111111111 1 ".",":f'"j .": 1 ~lIlINl~l11li gill will I 'f:f'":"'"'f ;"'"MC"' "" ) _ h t

u u

"Win We" _-wp R n ERN"RR""R wRNNRnINNRRR" WW N " NNWN WIND RR ~I ~I~I~lal~ltilIN ~l~i~1a{ :H~I~IJ ripIIIN WW~IW nnRwwwwEwERwwwn MN :NN.M04DoDfNR DI :MNafNDoN. A RRE11 NNNNO nnnwnRRnwwwRRRw NN, a1~1:M:N~+r~I:Nn SIaI~I~I~I :M~I` " NNNNO R nRRERRRR11a"MIEN NN, R OR n NNNN ;1 On 11~I wRINNwNRRRRREE 31 11111 "w ~I :Mal~l~l~lal~lIt ar~lalal~l~hl Ewnw NNN W Fee INNER WW : p DI .NNN PREP EEnw NNn Ew NNNN NE F1Etw MR ~ "FEE Nil: In E :WNNNO - ~I~IaI wIMF ** :M~"Ewn 0 Enww ME N:NCNN.1 ~I M:M :N Wall wnn :Ja1wwww ""FIR WN. IRE M404 -X) N:N a1 men 00401111 . e"aw NN , enEw :NaIDIND ^I^_e UUaa : aI~I~I :M :JatI Rww R Mr Ewnlt DINOlND 9T.". aaaa : ;M. T.rf? 3I : amfs rRwne rim"1~ " "Men :N :11 : MIM DIDINDID '-- V,-V-- J:AJU : J:*44:~ `D1 N,01D : :N :N WN: !1I"R11~J :J- "new . . . . N.901 It R :MN:MDla U!JUJ: Ju - ' :T.T :N . na * Ja- FREE .'r-17i "" Na10I;M : ""MF WNNI no =* aa- "PIPE W r, Win wu1:w 4c": DI X In HIIE '~J~JIJA "FEE :Hall as atWWW 1 * mNDo:N : JUJ:af- :FT:T_7~ none : Int1n j aaaa' Wall" on W:I1 :It * rT c .~ J- :":".": M. R"MR W: nw 1 Na": 313"31 me" 01~191~1 ":T: :~ :1131: n11N"pro, : 1 "RRI"NNNN" "P RR NN" In IIRw1"NNNN ; RppF 313i :M :M :1tr, WNN:M :: ,":"_ :Tt".TT.T-.": ":L al :N : FREE ewatl~WWWW : nw0W 3i31 IIR " :":": :":":"_7. "_T:T:T:"c". neon 1 "wltlrtINN31N noEE :M*MOI34 W:11WW: En T. alai FROM 11"wW 31313131311: 31313131 : ER R1 "WEIR WA , E111 a13+a :Mc DIDI RREW Imm ,911 Ron11 NNNN : h~ 50 431 DIN E" NE 110111011111 11"N' primp :M~I~I 31313131 : r111ER"mewnMR"""nEPRgUWN :M~I~la~lal~1~I:~1~I~I:Mal~~la Ewwn WW' wRIlw M~I:M~I~I~I~I~I DOMINO r Imp" R :M~I~i :Malalal~l~! w"nE NRFIR"_ pPREP"RrNNNzi RRWE 313131 W - al~l~l~lal~lal~l~lal~hlal :N3i313 "RR IN iWWWW non" E R"R fW31N3 www IRE"" 13131 no wawRNwwnnRwwwWEINNnRENn IN E"RRNREWNENRRINNnwRRREW NN~1WWW~iW~1WW~iW3iWNNWWNWN wEERERWRwRRw"RnERwwEWIN EnwnwnRAEENEnwRnERnRWn

ka.rl kempton

~bbbbbb hbbbbb ccccccccccccccc dddddd gddddddd

cddd bccbb cc c cccc dddddd aaaaaaaaa a aaaa a I' ." hbbbbb c°ccccccc c c ~bbbbbu c c ccccceccc ~ddddd d a aaaa a aaaaaaaa cccc aaaa a aa a aaa aaa 'h Ti cccc c cc c0 dd ddd IN a aa as a bbbbb bbbb cccccccccccccccc dddddddd dddddd eeeeeeeeeeeeeeeeee fffffff hhhhhhhhhq hhhhhh h I No e eeee e eeeeeeeeeee n hhhhh i1 eeeeeeeeee e thhh hhhh eeee e 1 h eeee n eeeeeee e ~~- f eeeeeeeeeeeeeee ffffff~'fffffff ahhhhhh Izhhhhhhh iiiiiii iiiiii Jj }111111111111111 'jjjjjj13jjjjjj 1 1 r 1 1 lilt 11 ~jjjjj 1 11111} i :}111111 ~jjjjj j "f iii ii ii . i j . : fill 11, 11., lilt iiiiiiii Jjjjjjjj jjjjjjj kkkkkkkkkkkkkke "'1111111111 IT MMMMMMMMMmmmmmm m nnnnnnnnnnnnnnnn o0ooooooooooooooo PPPPPPPB PPPPPP mmmmmmm m n nnnnnnn6oooo6o 0 m mmmm m m m n n n nnnn n o 0000 o o 0 m mmmm m m m n n n nnnn n o 6686 6 o000000000 m mmmm m mmmmmmmm nnnnnnnn n nnnn n o o0 o 6 m m m m n n n n o 0 0 0 5PPPP PPP mmmmmmmm m mmmm m n nnnn n nnnnnnnn 00000000 0 0000 0 PPPPPD m m m mmmm m n nnnn n n n 0 0 0 0000 0 m m mmmm m n nnnn n n n 0 0 0 0000 0 PPP mm m m mmmm m n nnnn n n n 0 0 0 0000 0 IM mmmmmmmmmmmmmmmm nnnnnnnnnannnnnn 000000000000000000 PPPPPP PPPPPPPp sssssssssssssss tttttt tttttttt sq _ 1r rr ss s ssss s t ti q r rrrr r r r s s s ssss s t t IL r rrrr r r s s s ssss s t ijggqqq" r rrrr r rrrrrrrr ssssssss s ssss s jttttttj aaaa rrrrrrrr S ssss ssssssss 'E tttttt qqq _ggggqq r r r r r s ssss s s s t r r r rrrrrrr r s ssss s s s t t rr r rrrr r s ssss s s s t t Kgggggg r ssssssssssssssss tttttttt tttttt uuuuuuuuuuuuuuu v w ~xxxxx u uu u v vv v w ww w x xx x u uuuu u u u v v v vvvv v w wwww w w w x x x xxxx x u uuuu u u u v v v vvvv v w wwww w w w x x x x x u uuuu u u u v v v vvvv v w wwww w w w x x x x u uuuu u uuuuuuuu vvvvvvvv v vvvv v w wwww w wwwwwwww x xxxx uuuuuuuu u uuuu u v vvvv v vvvvvvvv wwwwwwww w wwww w xxxx x zxxxxxxx vvvv vxuu uu to uuuu u v v v vv v ww ww w wwww w § 38M xx x u uuuuuuuvvvvvvv v w wwwwwwwxxxxxxx x u uu u v vv v w ww w x xx x uuuuuuuuuuuuuuu vvvvvvvvvvvvvw wwwwwwwwwwwwwww 99ttottottoftittZZZZZZzzzzzzzzzZ """"""""""""""" Z o 1919 z zzzz z z Z 99 ! 9999 f Z ZZZZ z z z ! f 6 69,9,19 99 Z ZZZZ Z z z f ! f t 19999,1 t zzzz Zzzzzzzz !191919999,1919 f 191919! f ~ Z Z ! 19 t zzzzzzzz z ZZZZ z f golf f ftfttfft ~~ ease z Z z ZZZZ z f, 19199,19 f 19 f t toot t ' f ~ zz zz z ZZZZ Z f tot# 9, f f " 0 """" Z ZZ Z 1 ZZZZZZZZZZZZZZz  tt9999tto09 9 1 1 t19 e

karl kempt 6n

betty danon viale coni zugna, 37 la stretta 20144 milano italy

3 pages from AUGENTEST

.IT+ + f * ~ r IF ~- V y~ T V "yuT YvY r + g y y Y Yvy`:v 'IT Y+ W .. . . ., a Q 2 .. . Q .Q . z Y y YYY Q Yvy Y .2 Q YX. m .. % .Q4 . $ -S Q Q Q '~P. W vY ( P P . YV v!~v+ v P T IQ, yy y 0 VY'Y VORSICHT 1 .r MANUSKRIPTI

hommage d gUnter grass Y

r

le jardin du typo-poete

kurt mautz d-65 mainz am fort elisabeth 33 trimm dicht west germany

bill gaglione 1183 church st san francisco ca 94114 ca 94114 -

. . aSI -- be SA . ~~ 16 ~.,~ o li caraoses beneap~,e,~1 IV 10 ~~~ ~ti" Pyk tr. .IPaps S across t r~ ~a-I, spinning Ifft a If 4 el"ic ' . ~ ngUa~'t t. SPr marvel at' htV~t~` '~ h i rr, tca mankind ih~, ho Silence t {rue the starS .- f .,<< tr, _ in , ~~ th OtJhg~ thick th ,o; ameets A sp3e~i; owrinq , y ";,ave o t h ;ee~ate! aWa `W&: t! s Ot nt'VIKJ Owir. ,.e ithin the Spares y d4 .~I~e~O t "heatoms by" ' e ~~sure ".ark & 'edd~R the -1onder : tg5-,~~' t spirit It 214 the V! knrlds,~ h~ ~i~c n ' v bum Q. i ' thEi S ~ thay burn 6' 1 "! :"fined they w,hc ' flee ,pace tai "n8 I wi , he SL, . e`. , 0 the grub "AZ* w 1 and- i .t;0 one with in 1 Ca11 when the fires ott , W Iales ot , minc tied the skin of .+~3 hear . t o eye the wao, f :y ,per not . n S. I 'O.i , r I

hart broudy 75 graydon hall drive suite 1508 don mills, ontario 4 ;pages , froA ,SQUPJDINGS m3a 3m5 canada above page available as a signed $,50:,g0 .

1,2,3,4, SWEEP. . . . . CLEAN SWEEP

TO WIN OVERWHELMINGLY ALL THE GAMES .

TO wLN OVERWHELMINGLY ALL THE GAMES .

TO WIN OVERWHELMIN ;LY ALL THE GAMES-

1 201 1 I 1 1 TO WIN. OVERWHEVINGLY ALL THE GAMES . I I I I I 1 181

TO WIN OVEAWHELAIAGLY ALL THE GAMES .

TO WIN OVERWHELMINGLY ALL THE GAMES . 29 39 49

~ . ~' '~...... ~ ...... -IN f\VV L_ - WITH

yep PASS O v E R AS SURFACE

paul zelevaasky 267 x . 89 st 4'pages from- Sw EP nex'york ny }0024

- " A A / " 1, now* constantin xenakis 7 17 rue de navarin f-75009 haris france ~.fxyNr%IwJ~".~.~w ;;qx.r-$ v , ~I. ~tvA~A t

xE/a.l x"171TOW HWIx1 s ~®e~sx~ rr~a~Asem~~~v :t F3"E'O$80Z'f~89 tp6.^ " rrvvvoo6

mar r:apauWiii Co4 ~~dWv~ ~c- GCfi~IC~b=~ ~.® D e ~1rv  qae ~ow~ ~+ ~Oh ,M~s~

~~I"~rsie.~a,~cT~s~/are~»al,-ovaa*~0,+~3,oe."

6f® e2 CO) . . .4awl^1*(1 cc ~.Zw1eZp

XXIIX`'

. _It 1 sIt1

Road Code

"y man 7.plt~s~ ~I qp - .yq F e

-"Alu! "Iltqli

i iAr.ri A .rte ALA A ."&A A i AAA "A&A~ Ar~M""A11LAAA AAA"~irrAA"A"A

:._._.. ._....._._ :w~*-:' -_ u~j~Lnll~~

116~94119 of INOWqW91-01-01~m1

,The 17 Commandments

A VRI ~" -..- wX~~x K $15Nt FS+

'~'~~'~X-l - 90

x

g~~al " '1:~~ " "a".,...,.~..°H " : P ,.... o V . .- ..- . °`d0 .& .x t IM - u. .P I~. OP&,Vi S M : : . !0 : 1~1 ~ !mil o

,~,~ l~rGDLL x XCa.%

TRACE-QEOME7XiE

i

C(I

"" F-I

TRACL- cpA;E

J~c

v .., ! L 1

Geometric Chimie Telecommunication' o boxJosemoore187ca 95103

stephen p san

SEQUENCING : ROBIN

B -NS

R 1.-.E V AX z

o i BATH R

k . s . ernst 70 squankum rd howell nj 07731

impromtu for 2 hands betty danon

r

'Fi 2 / Note of Bamboos / 1`Y =Bamboo

Shutaro Mukai / Inokashira t-13-25, Mitaka-shi, Tokyo, Japan

collecting for fun and profit

WR~t HukRONC4N' VAS Aft PAPERPULP o1&3Ec rs If9 ;E

inflation hedge

vittore barons (2 of a set of 10 postcards s . e . kohler via raffaelli, 2 --20¢ each) paper press inc 550+2 forte dei marmi (lu) 544 28th st italy san francisco ca 94131

*+ ,.*o ,,,e fi~ ~ r~l 3e %t.. " 90Z 10

qw~,~ ?*W- *41~

Peter murphy 3 the panorama eaglemont, 3084 victories australia

1 :

S

r. saunders box 631 route 2 xeare nh .03281

t' 4t ~,t u V NNNNN t~ ,i u tta~ t~ 9'V rte ,v4 99 MSC / TSD FINANCE OFFICERS') TO DIRECT OF TR

MARKETIN CORPORATE ORN SERVICES R MSC NO N aaaa N N h N N N

. * r~ ~tiAj~h;4 ti4 r h i ALGOL ENT j NG M

MSC / TSD PAYROLL EXTRACT -J

TROL REPORTS

GEMENT REPORTS

LUNOMETER CSf 2(bi : j miroljub todorovic PSMF and error signalist documentation centre, I Corr .cc1cns Mder=Dltttllltpr fof lxarlipf 'mldtP.7Rl moditY -snd m bullrxats Dlrn!! b . : ;, "a Nrtlmodity of - aupitAL4RL Uadir . WIMWr4 dobrinjska 3 tbo buliRgw! and Ioidtntlau " of ° alplte11en1 tmasi dilute _ ^~^ 11000 belgrade yugoslavia atr IpwtCblRdus to do, b . ' a . _t0 -I110M~I4 Q;~llt~ Maclne. f ttl ~ rli4ttt'yk:~+r'i1 ~

peter mayer

a de araijo

cap. 7110 rio de Janeiro anthropoema (III) 20405 brasil estado de oomposicao aaron floers monte alban 204 mexico 12 Me from MORAVDI' BOTTLES

paula hocks rt 4-box 225-tano rd sante fe nm 87501

victor maneul flores/edif quetzal 102 cot pedregal de cannasco/unidad . infonavit/Mexico df zp 22

REVIEWS ments on concrete sound poetry, other approaches to concrete sound poetry, con- books crete renewal, some myths of concrete poetry, a chronology of visual poetry, WtRTERBRUCH by ernst buchwalder. st. karlistr. 17d, 6004 lucerne switzerland . a chronology of sound poetry, bibliography & discography . 24x22cm, 164pp, $?. . this is a collection of selected works from 1969 to 1978 presented by the publisher armato. 2 tones, J tones, re- magazines which are beautifully several A CRITICAL NINTH ASSEMBLING (also PRECISELY 6, 7, 8 & 9) compiled by richard versals and . fold outs. ernst is a visual poet who has mastered o box 1967, brooklyn ny 11202 usa. 212x28cm, give us his multi-layered vision of letters, words and books. kostelanetz. assembling press, p medias in order to kinetic unpaged, $10. over 150 contributors provided 1 or 2 pages of . ready copy concrete and visual poems in 2 & 3 dimensions, cut-outs, sculptures, tendencies in contemporary literature.' unlike the mobile, performance documentations of burning and melting on 'radical/experimental sequences, diagrams, jig-saw puzzeled previous issues, each contributor was approacht thereby making this the strong- words, fotoes of children playing with huge letters, , well as making this an important body of criticism, most of words, his famous poetree in color, knitting, conceptuals, billboards, callig- est issue to date as that brings into focus the which attempts to come to grips with the current explosion of new lit forms rafy & more . he is not just a manipulator of matter but the vast majority of big and small publishers . the spectrum-- and spirit of the object handing the reader/viewer a lyrical celebration. are ignored by to poetry to energy andre silvaire/20, rue prose to concrete/visual poetry to language art to conceptual work LE JARDIN JAPONAIS 1 & 2 by pierre garnier. lea editions fotografy to to. . . . a smorasborg of crit/hype/dump not to be found in/ domat/parts/france . 15x21cm, 72pp & unpaged, $? & $?. Pierre with ease places all these folks were signifying space in the 1st under/between any other covers. a bed full of work. and if his minimalist . elements on a page of white--white put in the same room they'd first quickly migrate to their respective backslap- book and silence in the 2nd. tho he makes it appear easy with his accurate eye- each other and all the other groups. master-touch . move one element and the poem unbalances ping areas and then come out fighting balling, it aint . it's his TEA-N-G=U=Ar-G=E edited by charles bernstein and brute andrews. 464 amsterdam ave, and silence working with and against the black type, bipolar dusting. criticism, --space 26, west glover vt 05875 new york ny 10024 usa. 18x212cm, unpaged, $8/year. 'a journal of PIANO ALBUM by dick higgins . printed editions, p o box cmentary and theoretical writing on contemporary poetry and related arts.' the usa. 21x28cm, 32pp, $10. these 13 short pieces are an investigation of music . all letters be- sound to conceptual music primary interest is that of language being used intelligently ranging from the traditional concepts of organized ing equal, then, creates a burden of responsibility on the user, they must all behavior. some can be played on the piano keys while others must be played on the lead out. crystalline structures. provides the frame and the viewer/reader shine and sing equally, have purpose . getting theAmaginary keys of the mind where .he and this is where the mug points . a rare publication in the american press scene, provides the movement & sound. small. intelligence is displayed as therule, not . the exception, a sense MORANDI'S BOTTLES by paula hocks. the running women press, route 4 box 9e, santa big or rather than 'here it aint.' the 4th and largest in a series of knowing, of holding up and shouting 'here it is' fe am 87501, usa . 22x27cm, unpcVd, cloth, $50, PRECISELY 3 4 5/WEST COAST POETRY REVIEW 19% VISUAL LIT CRI2 edited by richard of artist books by paula is highly complex with each page acting as an object/ reao nv 89509 usa. 15x222cm, 190pp, $6. billed enchantingly toast thru bottle glass, a veil over kostelantz . 1335 dartmouth dr, poem, itself a of lite lyr- as the first collection in the english language on visual poetry and language reality, a dream instant forever frozen. each page is also a segment in a first if the writers forum series 'studies in con- into 4 parts with images/symbols/signifiers reaching thru the richard has indeed formed a the ical journey woven with message crete' is put aside in some other unique category. not only the roots of pages like lite thru a row of bottles. a bottle thrown on the sea a with many striking illustrations are examined but also creates itself within the confines of the journey's line visualization of language and con- of delits, the message electrostatic- there are essays looking into the contemporary scene of technological of travel, the line is a huge hose sucking in dreams, collages and other essays deal with specific individuals . some people ceptual influences . than a strong ly reproduced. $50 hard- even rite about themselves . however, this volume is nothing more HEADS & BODIES 3 by paula hocks. 22x27cm, 50PP, $30 plastic protection, beginning for the new and open field of visual lit crit . there are many strong book 3, unlike 1 & 2 which are random entries in a travel journal,. is a england. the essays by bound. line of thin thread visual theorists missing, especially from canada and specifically lined trek thru one place following a narrative Marcus, higgins, doria, kafelanos, essayy & porter contain enuf strength to around emblems of a remembered dream. but the exact place can never be entwined ever showing a white endure the harshness time blows across open fields . recaptured which she underscores by somehow casting without ZETAs RIVISTA INTERNAZIONALE DI POESIA 1 edited by franca campanotto and carlo gauze over each page . each visual poem/collage is a pressed shadow reproduced by 33100 udine, via michelini 1, Italy. 16x22cm, individually treated with color work and/ marcello conti. camyanotto editore, xerox machine, some of which are then 262pp, 11,000 lire/year . contains a host of contemporary prose, poetry, visual or pastings. poetry and language art by familar and unfamilar poets and artists . the bulk of SIGN AND DESIGN, THE PSYCHOGENIC SOURCE OF THE ALPHABET by alfred kallir. vernum, the heaviness of matter, the dense stuff of the urban re- england. 346pp, hardbound, 6 pounds. work seems to focus on function 2 the square, richmond, surrey, 15.x232ca+ in sponse/reaction lacking high energy and spirit . since most of it has a what began as a flash of insite into the psychological origins of the alfabet to this slant due to the strength presented in several cases . eventually took 20 years to research and rite, is billed as the i am not objecting represented in 1943 and which around since but with a mug this size weak works are frequent . many countries first coherent psychological analysis of the alfabet. it has been tongue . building his case on the Jungian concept of the collective unconscious, native 1961 . with 442 figures the universality of symbols, he amply illustrates his argument catalogs dept, painting, hieroglifs, pictoglifs, runes and a host of ritten language ex- CATALOGUE 1 . the international concrete poetry archive, liberal studies --cave foenetic elements with his for medieval and renaissance studies, st Michael's hall, 31 queen at, amples from around the globe. he correlates grafic and centre archive de- studied insites from mythology, history, linguistics and psychology attempting oxford oxi ler, england. 21x292cm, 32pp. $--price of postage . the & acoustic . thruout he presents pends entirely on the generosity of concrete and visual poets to donate works . to prove a bisferic field in semantics--optic of examples, some bipolar symbolism, particularly male and female, some of which seems to be pure the catalog is a list of archive contents with 4 full pages & & g. interesting. stimulating. of which were lifted from previous issues of KALDRON. other illustrations are sexism . its first 200 pages focus on a, b c supplement but i find him in places tying invisible knots by projecting today's behavior blended into the lists. send work to paula claire who is preparing a today's assumptions of the past onto the past. for may of 1981 . and 4000 d'assel- POESIA (available from ZETA) . 152x21cm, unpaged, $?. the visual poetry AUGENTEST by kurt mautz . verlag eremiten presse, postfach 17 00 29, CITTA A from dorf, west germany. 12Zx19cm, unpaged, 18 marks . the title means eye test . the exhibit was held in march of this year in imola Italy with over 80 poets and permutations. the later, were Italian. almost 30 works reproduced, one per page. reader/viewer is presented with typograms, collages 15 nations. over 2 international museum of all In german, which i am unable to read tho iv been informed by a translator ELECTROWORKS edited and compiled by marilyn mccray. use of a dictionary i agree . george eastman house, 900 east ave, rochester ny 14067 usa. 23x that these are sophisticated and enjoyable . with , most of which are colored, examples from this book are to be found in this issue and are reprinted with 31cm, 80pp $?. over 50 xerox art reproductions, from the publisher . some language art, were selected from the show's total of 245. Illustrates permission wyndham road, london development from a mere office machine. tho this art form CONCRETE by ruth wolf-rehfeldt. editions brian lane, 162 electrostatic art's exciting vitality se5 oub, england. 1Ox15cm, unpaged, $?. this is the first book in a series of is still In its infancy, it already displays a maturity and xerox publications by editions lane . it contains 7 one page concrete which promises a dazzling, future. little COMTEMPORARY ARAB ART . Iraqi cultural centre by ruth whose work has appeared in the 3 previous issues of KALDRON. clean THE INFLUENCE OF CALLIGRAPHY ON poems poems it/them visually court road, london wl, england . 21x29Jcm, unpaged, $?. and precise typewriter work. she takes a word or more and gallery, 177 tottenham role in by creating its image, symbol or signifier or picture. the visualization of the arabic script has long played a significant various aspects of arab culture including drawing, architecture and poetry. I anthologies have long held the opinion that the ancient and medieval visual poetry and ALPHABETICAL AND LETTER POEMSs A CHRESTOMATHY edited by peter mayer. menard press, portions of the globe easily rank among in north america by language composed thruout the Islamic 23 fitzwarren gardens, london n19 3tr, england.--distributed pounds/$6.95- the world's best and i have equally as long wondered what the contemporary work sbp, 1636 ocean ave, kensington ca 94707 usa. 15x23cm, 102pp, 2.95 I now, thanks to peter mayer who sent me this catalog, have a strong chrestomathy of alfabetical and letter poems this book is important offered. leaves no doubt to me as the first language hint. this publication of 39 works, all but 5 in color, for two reasons--its impact, what is going on/in the poems regarding ambit visualization of language remains as dazzling, as its ante- range from hebrew, anglo-saxon, nordic, Icelandic, Japanese and that the poets and language artists and these poems concretei and that cedents. the international community of visual middle english translations to contemporary poems including should do all that is possible to bring our Islamic peers into shows and pub- a key opening the door to new possibilities . in the introduction one finds . it is of mayer's which in licationss they have powerful gifts to share this to be only a small collection from a .larger anthology OGGI POESIA DOMANI edited by adriano spatola and giovanni fontana. tam tam, turn Is but chapter 14 of a work in progress. THE POETICS OF THE ALPHABET . Italy. 17x162, $?. 147 reproductions, & bob cobbing. writers forum. 43020 molino de bazzano, parma, 95PP, CONCERNING CONCRETE POETRY edited by peter mayer 3 4 to a page, represent 30 countries from the visual and sound poetry randolf ave, london w9, england. 21x30cm, 135pp, 2 poems/$7" 50" origin- or 5 strong body fo works . essays in gen- 262 updating, this show held in 1979 frosinone Italy. very ally compiled in 1971 but remaining unpublisht until its 1978 eral are in Italian, some in english . 3rd in the writers forum series 'studies in concrete poetry' contains research & counter contension, thesis & antithesis, yin & sound search & reach, contension FRACTALIZATION . hawthorne, #115, sun joss ca mitey host of folks in 85 pages of text and 50 pages of visuals form- METROPOLITAN by tarry wendt 15 yang by a which date back to the 95110 usa. 55 minutes, cassette, $6.95 . before describing this tape of 6 works ing.thelargest body of statements and criticism--some of the large body of available sound poetry. and earlier--iv read to date. to illustrate the scope i'1 give you the I must say that i am unfamiliar with 19 tens statements and manifestoes, with few exceptions what little i have heard has left me unimpresst and un- table .of .coptents,s,the term concrete, some historical work. wendt's work is definitely one of these excep- on concrete aspects of poetry, shape meaning sound, on semantic poetry, state- willing to seek out other

tions and has instilled in me a desire to seek more. in 'rain, stream and speed' for example he chronicles the evolution of train from a symbol of destruction bern porter tape segment to that of a diety using, as the tape's title suggests, fractalization . gen- stenograft by marla baize erally the fractalization one comes across in both visual and sound poetry is retyped by karl kempton noasymmetrical, but larry here and in other pieces seems to bass his fragment- ing on the geometry of fractiles, systematic and symmetrical reduction. using the futurists' accents he composes a piece from flash gordon movie sound tracks. In another, a 4 voice sound text produces a modern laborer's work day. 'There' takes one inside the horror chambers of modern medicine, the hospital, where the long boring wait and endless intercommed instructions produce a trip on the river styx. and more . i find width, depth and great heights in larry's tape of sound poems .

ONE CONTINUOUS EXPLORATION THRU THE EYE there is barn porter, a father of founds. and then there is barn porter the atomic physicist, painter, editor, cartografer, poet, illustrator, sculptor, P H 0 engineer, urbanologist, publisher (among the many: henry miller, parker tyler, T 0 T kenneth patchen, robert duncan, philip lamantia, kenneth rexroth, James schevill, antonin AO artaud and pablo picasso), foto collagist, bibliografer, TK HR EU TS essayist and teacher. two publications devoted to his life and wide variety of PB H difficult locate. by the poet James schevill, ~P AOE THEkROARING AMA AND THE SILENT TOMB, is out of print but i was able thru FRP EP inter-library loan to read a copy from the state library in sacramento . the H EU PB G S COLEfLIBRARY QUARTERLY devoted 66 pages in 1970 to a symposium on barn which is` T still T available as a hard bound xerox reprint for $4.00 (colby college, water- WH 0 E R L villa mains 04901) . also, dick higgins' introduction to barn's I'VE LEFT LGprovides a brief sketch. the purpose of this article, which is based and lifted 10 EU on/from conversations and a taped monolog with barn during his visit here in W PB RAS december, is to focus on his found work, to provide insites missing in the above FRP L mentioned books and to discuss some of his available books . W 0 E born on valentine day 1911 . from 1918 to 1922 barn's father brot home every week X a sunday paper publisht by hearst .if a newspaper is literature and he believes T P HRAO it is, at the age of 9 this was the only literature he sax . he read every word E0 and became aware that his understanding didnt impede his visual enjoyment, his W A8 visual excitement . he began to understand visually thru his eyes ; it didat matter what they meant, the words were exciting, and he would cut them out to paste into a scrapbook. (for those who like economical deterministic accents, as a child and young adult barn never had much money. his childhood was spent in poverty. as such his attempt to learn how to see and to be stirred by seeing was done with little expenditure of money .) later, maybe 10 years, in parts francs he met some people who were also doing this and among them were people from switzerland, some who were later to help found the bauhaus. in 1936 & 7 they showed him examples of what he had been doing and they had been doing. so here in effect were separate approaches to the excitement of words on two continents independent of one another. thru the years he has embroidered this talent for seeing, finding detecting. he just seemed to respond without consciously seek- ing, hunting ; just stumbled onto these things. then he discovered the act of finding could be extended by removing surrounding materials with scissors and by blanking out. since the age of 9, this has been a continuous attempt to develop . his eyes, to develop_ the act of seeing to a very high degree so that all the details are taken in. H seeing he found involves not so much the object itself but the space around it, HR the space it occupies, which it turns out is almost as important as the object T P AO E itself. in fact the thing itself can not be defined without defining the space around it and the space it fills . he feels it is unfortunate in this course of $ HRA seeing that the factors of comprehension, understanding and meaning come into A play because they destroy the thing. he looks for the truth of the thing seen, WH Ar 1i its validity in its own world, its quality of completeness, its quality of being ~ P independent of its surroundings. the instant one attempts F L T understanding, reason- T P EU ing or wrestling with it, it disappears . so this is a feeling experience thru H AO pB the eyess 'the act of seeing, comprehending thru seeing without mind intemspting T or explaining or reasoning or coding the thing, with traditional expression or D traditional feeling or traditional beauty aside, the thing itself free of ex- RPB planation. let it explain itself.' it has its own validity ; it can be a letter Hpj0 on a page or any 3 dimensional object . one must undertake to feel that life. ST lU S reason and or description brings instant death. F~ L 1 in francs in the 40's, found materials U BL from the 1920': were publisht . it is not F unusual for his work to take 20 years to reach publication. in the early 1950' : T H E eBL his work appeared in Italian. Japanese, gezaan and anglish anthologies but no anthologies in this country. and somehow born was ovdr lookt by the concrete 0 EU anthologies of the 60's and 70's, even in this country. perhaps what he was do- A0 B GT D ing was too remote he says, remote in form and remote interns of his geografic E R location hidden in mains T away . except for something else press and abyss he has ' P ~ APo E D publisht his own books, most of which were only one or two of a kind--these are t PB now housed in the university of california at los angeles library. and it took W E9 decades before his founds were publisht in book form. when publisht by dick 0 .,U _PB FOUND POEMS higgins' something else press, they were called (a hu=ge selection, T` 100' : upon 100': including works from the 1920' : in a 21x28x2Jcm book in 1972 , O U R --available in limited number from serendipity bookstore, shattuck aye, 1790 TKPW FR T~ berkeley ca 94709, $3,45). however, born objects to the title preferring founds: A8 like the way people find stones on the beach, bits of glass, worn plastic, odd TKP H 0 U shaped fragments of things during a walk, wood grains, cracks in a sidewalk, L T etc . the taking aspect of this book, aside from its size and obvious F'-.'P breath HRAO ; importance and the fun one has with it, is that the book contains a host of U R Tg work predating what is generally called the 'concrete poetry movement' . L barn has 4 unpublisht manuscripts between 2 & 4 thousand pages each. all are E F founds . DO'S are basicly instructions, do this, do that . DONTS are the contrary 8 RB g form. he found things called DIDS representing things he did, done by him in a TKW short time space with/to the object. works taking longer to make he called TK RPB DOMES. selections from these works and others, GEE-WHIZZELS and HOLY SMOKES, for example, have appeared in a host of little magazines thruout europe. and because of his wide and frequent travels, europeans constantly approach him for KP H ~0 R LG 'what's new in the usa?' . STK DIERESIS, ART REPRODUCTIONS, THE WASTE-MAKER (which he considers his classic), P H ~ E D RUN-ON, THE MANHATTAN TELEPHONE BOOK, GEE-WHIZZELS, I'VE LEFT, and WHERE TO GO/ TK W R L WHAT TO DO/WHEN IN NEW YORK/WEFdX OF JUNE 17, 1972 are all available from barn S porter, 22 salmond, belfast, mains 04915 usa. each book costs $12.50, except PBLG for I'VE LEFT which is $8 .50 . postage is included . p 8 ~TF I'VE LEFT, A MANIFESTO AND A TESTAMENT OF SCIENCE AND ART is a collection of U P essays wedding science and art which have been for too long considered separate PWH LG entities in spite of the fact that the creative flash for both comes from the 8 E same energy source. he utopias poets and poetry, dadas and surreals male cloth- PW U ing, insideouts theather, reassembles architecture, fresh-airs art, returns .food T WHR 0 RB G S to growing, untenses tension, junkheaps cars and then appendixes definitions of sciarch (sci pronounced sky), sciart, scidra, scipai, scicom, scilit, scimus, K RJ0 T scipoe, sciths, & sciscu. as fresh as the day ritten, some of which date back to 1939. this is a reprint from 1959 that he publisht in australia explaining T H why he had left the usa. fortunately he returned. reviewing or describing his visual works sets up a contradiction within the force HR 0 F field exhibited and alive on a page or a series of pages that stack up as a book . to minimize destruction i x111 compare and contrast two books, GEE-WHIZZEIS and TKp WHERE TO GO . . . . both are 21Jx28cm with coated pages to hiten the visual experi- r8 EuF D ence. 'gee' is a slang term expressing mild surprise and 'whiz' is a slang term P ~U PB S meaning one who has remarkable skill. by xhizzeling whiz he tosses a new twist 8 and thus dimension onto the term which he then uses to surround each found and A PB prepared found as a silent vibration, tension. white or black space also surrounds T P R the viewed/felt object, be it letter, word diagram or collage, playing the sign- P R EU PB ificant defining/filled role . each page relies on itself, its own world of being. while it is true that each page in WHERE TO GO . . . relies upon its individual S AO E F P LGT identity for expression, it is also untrue because this book is a unit of founds, cut founds and prepared founds made, for the most part, from a what-to-do-xhile- in-new-york magazine available for free to tourists, a magazine found in hotels and paid for by the places where one is enticed. he turned this found magazine into an artist's book with fold outs and inserts in order to .increase seeing/ feeling. he rote me 'i hate people who read founds, who don't see/feel them. the fold outs are intended to strangle the bastards, wrap around their legs, arms, etc, mostly throats .' the pages are much denser than the other volume giv- ing the eye more seeing work, forcing the eye to work harder at the staring business necessary to produce after-images and to discover otherwise hidden marla baize forms. 369 n 10th st karl kempton graver, city ca-93433 .- xilliam fox 1335 dartmouth dr. reno nv 89509 usa