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Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped or patterned poems in which the words are arranged in such a way as to depict their subject.
In her survey, Concrete Poetry: A World View (1968), Mary Ellen Solt observed that certain trends included under the label concrete poetry were tending towards a "new visual poetry". Its chief characteristic is that it leaves behind the old poetic function of orality and is therefore distinct from the ancient tradition of shaped poetry from ...
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Judith Copithorne works with concrete poetry and other types of experimental writing in prose, poetry and visual poetry. Her core themes include domestic space and community. [2] Copithorne writes between text and visual forms, with early work combining text with abstract line drawings, called Poem-drawings.
In his "ferro-concrete" (reinforced concrete) poems, Vasily Kamensky replaced grammar and syntax with a spatial arrangement of words that celebrates concrete as a dynamic force in the invention of the modern city. The artists discarded customary book materials and printed Tango on cheap wallpaper as a parody of urban bourgeois taste.
A review in Kirkus Reviews of A Curious Collection of Cats wrote "Capturing the spirit of each verse, Wertz turns a collection of otherwise unremarkable visual poems into a true treat for the eyes." [1] and The Horn Book Magazine wrote "Together, poet and artist convey the silliness of cats and their humans without ever being silly themselves". [2]
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Zang Tumb Tumb (usually referred to as Zang Tumb Tuuum) is a sound poem and concrete poem written by Filippo Tommaso Marinetti, an Italian futurist. It appeared in excerpts in journals between 1912 and 1914, when it was published as an artist's book in Milan .