Complete run of 25 issues of Ian Hamilton Finlay's seminal international little magazine published by the Wild Hawthorn Press.
Nos. 1–5 (pre-concrete issues) include Lorine Niedecker, Pete Brown, Anselm Hollo, Vladimir Mayakovsky (trans. Edwin Morgan), Shimpei Kusano (trans. Cid Corman), Jerome Rothenberg, Jonathan Williams, Guillaume Apollinaire (trans. Dave Ball), César Lopez Nunez (trans. Jim Haynes), and Larry Eigner, among others.
No. 6 includes "Concrete Poetry from Brazil" with Marcelo Moura, Pedro Xisto, and Augusto de Campos. Concrete poetry and graphics have a vital presence for the remainder of the magazine's run and beginning with no. 9, issues may have a feature, for example, no. 10 is "Concrete Number — Drawing by Robert Frame" with Robert Lax, Eugen Gomringer, Anselm Hollo, Augusto de Campos, IHF, Dom Sylvester Houédard, and Edwin Morgan, with a drawing by Robert Frame inserted. No. 11 is "lollipop Number — John Picking" and is drawn and lettered by Picking with poems by Horace (trans. Ronald Johnson) and Guillaume Apollinaire (trans. Edwin Morgan) among others.
Several subsequent issues are drawn and lettered or designed and illustrated by artists including John Furnival (nos. 13, 19, 23), Margot Sandman (no. 15), Emil Antonucci (no. 17), Bridget Riley and Ad Reinhardt (no. 18), Peter Lyle (no. 20), Nigel Sutton (no. 21), Philip Steadman (no. 22), Graham Keen and Alistair Cant (no. 24), and Jim Nicholson (no. 25).
No. 12 is "– Visual – Semiotic – Concrete –" with Pierre Albert-Birot, IHF, Mary Ellen Solt, Heinz Gappmayr, John Furnival, and Pedro Xisto. No. 24 features "Concrete Poetry at the Brighton ('67) Festival," a record in photographs by Graham Keen designed by Alistair Cant. No. 25 features "One Word Poems" with design and calligraphy by Jim Nicholson.
Poor. Old. Tired. Horse. provides a critical snapshot of the international concrete poetry movement in full bloom, from the perspective of one in the vortex, and is truly an essential component for any collection of experimental poetry of the last hundred years. Although produced with the simplest of means there is a wealth of delight on every page.
Copies are very good to fine, and are occasionally slightly age-toned at edges, folded for mailing, or have minor chipping at edges. Please contact bookseller for detailed description.