“The 1950s saw the development of what might be termed a third phase in sound poetry. Prior to this time, in a period roughly stretching from 1875 to 1928, sound poetry’s second phase had manifested itself in several diverse and revolutionary investigations into language’s non-semantic, acoustic properties. In the work of the Russian Futurists Khlebnikov and Kruchenykh, the intermedia activities of Kandinsky, the bruitist poems of the Dadaists (Ball, Schwitters, Arp, Hausmann, Tzara) and the ‘paroles in liberta’ of the Italian Futurist Marinetti, the phonematic aspect of language became finally isolated and explored for its own sake. Prior to this there had been isolated pioneering attempts by several writers including Christian Morgenstern (ca.1875), Lewis Carroll (‘Jabberwocky’), August Stramm (ca. 1912), Petrus Borel (ca. 1820), Moliere, the Silesian mystic Quirinus Khulman (17th century), Rabelais and Aristophanes.
The second phase is convincing proof of the continuous presence of a sound poetry throughout the history of western literature. The first phase, perhaps bettertermed, the first area of sound poetry, is the vast, intractible area of archaic and primitive poetries, the many instances of chant structures and incantation, of nonsense syllabic mouthings and deliberate lexical distortions still alive among North American, African, Asian and Oceanic people …”
Contributed by
Juan Pablo Macías