- Augusto de Campos, Decio Pignatari, and Haroldo de Campos, “Pilot Plan
for Concrete Poetry” (1958), in Solt, Concrete Poetry, 71–72. - Ibid.
- Oy vind Fahlström, “Hatila Ragulpr Pä Fätskliaben: Manifesto for Concrete
Poetry” (1953), in Solt, Concrete Poetry, 74–78. - See my Twenty-¤rst-Century Modernism: The “New” Poetics (Malden, MA:
Blackwell, 2002), chapter 4 passim. - Steve McCaffery, “Synchronicity, Ronald Johnson and the Migratory Phrase,”
Vo r t 3, no. 3, Guy Davenport-Ronald Johnson Issue (1976): 116. See also McCaffery,
“Corrosive Poetics: The Relief Composition of Ronald Johnson’s Radi os,” Pretexts:
literary and cultural studies 11, no. 2 (2002): 121–32. The following comment on Radi
os is apropos here: “It is precisely in this manner, as a reader-poacher, that Johnson
enters the textual space of Paradise Lost to realize a negative production of detours,
erasures and new articulations. There is a coupling of meaningfulness to a shifting
materiality of language” (126). - Eugen Gomringer, konstellazionen (Berne: Spiral Press, 1953); rpt. as Figure 4
in Solt, Concrete Poetry, 93. - Peter O’Leary, Interview with Ronald Johnson, November 19, 1995, http:
w w w.trifectapress.com/johnson/interview.html.
Chapter 11
- Jacques Roubaud, La vieillesse d’Alexandre. Essai sur quelques états récents du
vers français (Paris: Editions Ramsay, 1988), 7. - Stephane Mallarmé, “Crise de vers,” in Variations sur un sujet, in Oeuvres com-
plètes, ed. Henri Mondor et G. Jean-Aubry (Paris: Gallimard, Bibliothèque de la
Pléiade, 1946), 362. Translation mine. - Jacques Roubaud, “Introduction,” The Oulipo and Combinatorial Art (1991);
rpt. in Harry Mathews and Alastair Brotchie, eds., Oulipo Compendium (London: At-
las Press, 1998), 42. - Michel Bénabou, “Alexandre au greffoir,” La Bibliothèque Oulipienne, vol. 2
(Paris: Editions Ramsay, 1987), 202–33. - Ibid., 227. A literal translation would be “Lovers devoted to impassive rivers /
Are equally devoted, in the shadow of the forests, / To cats and sweet like the ®esh of
children / Who like them are sensitive to the chill in the cold darkness.” - Again a literal translation: “Fervent lovers and austere scholars / In their ripe
season, are equally fond / of cats, strong and soft, the pride of the household, / Who,
like them, are sensitive to the cold and, like them, sedentary.” - Harry Mathews, “35 Variations on a Theme from Shakespeare,” Shiny 9/10
(1999): 97–101. - The N + 7 method involves replacing each noun (N) with the seventh follow-
ing it in the dictionary. Much depends upon the dictionary chosen: the shorter the
dictionary, the more discordant the next word is likely to be. See Oulipo Compen-
Notes to Pages 195–211 295