Monday, August 26, 2013

The Red Wheelbarrow: a translation



  • Moribund Facekvetch I took the Roman letters that the poem appeared in (a sans serif font) and then cut the letters horizontally (retaining only the bottom half). Then I copied it symmetrically. I'm hesitant to reveal the 'reading' but if you look at the right most "half" (i.e. read from the middle of the image) and start at the bottom, reading only the top half of each line, you can read the original English, beginning with "So much." I did trim a bit of the end of lines off -- there is 'water but only 'ra"!

  • Moribund Facekvetch I'm interested in the cognitive dissonance between the canonical text and my setting of it -- the crumpled paper which looks vaguely pelvic or floral. Organic in some way. And the textual treatment -- it is obvious once you know what I've done though the letterforms that I've created pull you away from the poems meaning, I think, in interesting ways. And the 'secret' meaning of the treated text plays with the idea, I think anyway, of decoding a canonical poem.

  • But, my first thoughts are about the Williams' poem and its notion of specific sensory details in relation to poetic symbols. There is something very tactile about Williams' writes about and how he writes (the poem as a word machine is ...See More


  • Moribund Facekvetch And then the machinery of poems and meaning. The paper. The image of the paper to me is very sensual and itself might posit "so much depends upon" the sensory or imaginative engagement with the materiality of the world, but also of writing and its various components (paper, textuality, the alphabet, etc.)

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