- Steve McCaffery and bpNichol, Rational Geomancy: The Kids of the Book-
Machine. The Collected Research Reports of the Toronto Research Group, 1973–1982
(Vancouver: Talonbooks, 1992). - James Tate, “Casting a Long Shadow,” The Prose Poem: An International Jour-
nal 8 (1998): 78. - Steve McCaffery, “Symphosymposium on Contemporary Poetics and Con-
cretism,” in K. David Jackson, Eric Vos, and Johanna Drucker, eds., Experimental—
Visual—Concrete: Avant-Garde Poetry Since the 1960s (Atlanta: Rodopi, 1996), 372. - Charles Baudelaire, Paris Spleen, trans. Louise Varèse (New York: New Direc-
tions, 1970), ix-x. For the original, see Charles Baudelaire, Le Spleen de Paris (Texte de
1869), ed. Y. G. Le Dantec; révisée par Claude Pichois (Paris: Gallimard: Bibliothèque
de la Pléiade, 1961), 229. - Haroldo de Campos, “Sanscreed Latinized: The Wa k e in Brazil and Hispanic
America,” Tri Quarterly 38 (winter 1977): 56. For the translations themselves, see
Augusto and Haroldo de Campos, Panorama do Finnegans Wake (São Paulo: Edi-
tôra Perspectiva, 1971). Augusto de Campos reprints “Dos Fragmentos do Finnegans
Wa k e” along with an essay about them in his A margem da margem (São Paulo: Com-
panhia das Letras, 1989), 35–48. For Augusto de Campos’s Stein translations, see
“Gertrude é uma gertrude,” O Anticrítico (São Paulo: Companhia das Letras, 1986),
177–89. The Stein in®uence on the prose poem, which would be the subject of another
essay, has to do with the way repetition and permutation of monosyllabic and disyl-
labic words creates visual as well as verbal patterning. - Augusto de Campos, “Theory of Concrete Poetry: Introduction,” trans.
Jon M. Tolman, Studies in the Twentieth Century, no. 7 (spring 1971), 48, and cf.
Augusto de Campos, “Yale Symphosymposium,” in Jackson, Vos, and Drucker, eds.,
Experimental—Visual—Concrete, 376. Augusto cites “the vocabulistic kaleidoscope of
Finnegans Wake and its textual polyreadings” and the “experimental, minimalist, and
molecular prose of Gertrude Stein” as important sources for Noigandres. - James Joyce, Finnegans Wake (1939; New York: Penguin, 1976), 260–308. All
further references are to this edition. - Haroldo de Campos, “The Open Work of Art” (1955), trans. Maria Lucia
Santaella Braga, in Dispositio: Revista Hispánica de Semiótica Literaria 6, no. 17/18
(summer–fall 1981): 5–8. In his preface to the Brazilian edition of his Opera Aperta,
Umberto Eco wrote, “It is certainly curious that some years before I wrote Opera
Aperta, Haroldo de Campos, in a short article, anticipated my themes to an astound-
ing degree, as if he reviewed the book which I had not yet written and would yet write
without having read his article” (Dispositio, 5). - James Joyce, Letters, vol. 1, ed. Stuart Gilbert (New York: Viking Press, 1957), 213.
- See Haroldo de Campos, “Poetic Function and Ideogram/The Sinological Ar-
gument,” Dispositio, 9–39. Ideograma, 2nd edition, was published by Editora da Uni-
versidade de São Paulo in 1986. - Haroldo de Campos, Galáxias (São Paulo: Editora ex Libris, 1984), Afterword,
unpaginated, reprinted as headnote to Oseki-Dépré’s French translation (see note 24
Notes to Pages 177–183 293