A scrapbook of stuff I'm reading / looking at / listening to / thinking about...
Posts tagged "comics as poetry"
Jan 17, 2014
Jan 04, 2013
Jul 25, 2011
Wallace Stevens’ “Disillusionment of Ten O’Clock,” from The Collected Poems (animated by Lilli Carre)
The houses are haunted
By white night-gowns.
None are green,
Or purple with green rings,
Or green with yellow rings,
Or yellow with blue rings.
None of them are strange,
With socks of lace
And beaded ceintures.
People are not going
To dream of baboons and periwinkles.
Only, here and there, an old sailor,
Drunk and asleep in his boots,
In red weather.
More Wallace Stevens poems, illustrated →
Oct 18, 2010
Cartooning isn’t writing and art – it’s poetry and graphic design.
— James Sturm
, cf. the cartoonist Seth
: “The ‘words & pictures’ that make up the comics language are often described as prose and illustration combined. A bad metaphor: poetry and graphic design seems more apt. Poetry for the rhythm and condensing; graphic design because cartooning is more about moving shapes around — designing — then it is about drawing.”
Aug 19, 2010
People think it’s writing and drawing, but I’ve always thought of cartooning as graphic design and poetry.
Jun 16, 2010
Musa McKim and Philip Guston, I thought I would never write anything down again, ink on paper, 19x24 inches
Some background on Guston’s collaborations with poets:
The Poem-Pictures constituted a series of drawings first initiated by Guston in 1970 in collaboration with poets including Bill Berkson, Clark Coolidge, Robert Creeley and William Corbett. Guston was interested in the interplay of words and images. In a letter to Bill Berkson in 1975, he wrote, “It is a strange form for me –excites me in that it does make a new thing– a new image–words and images feeding off each other in unpredictable ways. Naturally, there is no ‘illustration’ of text, yet I am fascinated by how text and image bounce into and off each other.”
Interesting note: McKim and Guston were wife and husband.
Apr 29, 2010
Jul 13, 2009
Jun 22, 2009
» Poetic Combinations
Tom Hart here touches on another link b/w comics and poetry: the thoughtful juxtaposition of images.
Poetic moments then, are moments abstracted, crafted by a creator maybe from specific meanings, but with an atmosphere around those meanings for the audience to imagine further. Not random moments, but considered and thoughtful combination of images, language, ideas and a conscious understanding of the spaces between them.
This is how my book works — each poem is a combination of images, but then the poem itself is an image, which is then juxtaposed with the poem behind and in front of it, and the “cutting” of the poems is the magic of how the book reads. There is no explicit narrative — any narrative is inferred in the spaces in b/w poems.
David Mamet, in his terrific “On Directing Film” discusses the need to make the story happen in “the cuts”, that is, in the transition from image to image. He is adamant about knowing the point you’re trying to communicate so you can do it via the transitions. Mamet is smart- he implores film makers to know what it is they want to say, but to say it indirectly, not with narration or “illustration” as I say above, but artfully, with transitions and space in between, so the viewer can become involved.
I will also point to the cartoonist Seth on poetry vs. comics:
It seems to me that the language of poetry is very dependant on setting up images and juxtaposing them against each other. A poet will create an image in the first two lines of his poem and then he will create another in the next two lines, and so on. I do find this jumping from image to image in poetry to be a very interesting, comic-like element. Many poems are almost like word comics.
Nov 06, 2008
K. Parille takes a look at Charles Schulz’s punctuation in Peanuts:
His work is only one example of the ways that text in comics — and especially in word balloons — is liberated from the kinds of ‘rules’ that govern prose. It’s a way that comics can be aligned with poetry, which shows far more openness and freedom with punctuation. Schulz, for example, almost never ends sentences with a period, a standard stop in essays, short stories, and novels (of course, he makes extensive use of ? and !). I tend to think of balloons as more like a blank page of poetry than a blank page of prose — a place that’s fairly wide open.
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