it’s a box to recollect • or lay low • some will eat marrow • not me I aim to resurrect / as an animal coming back • reincarnation in the end • by its awkward taste will offend • on horseback / but peering up a dress • simply isn’t done • just as the commonplace • won’t be broken / so I’ve spent my extended holiday in a tunnel • that’ll teach me for wanting to get all supernatural…
oh my doll • I would that your learning would chart its own depths • you ought to be taking sensible steps • no and again no my doll / should a pressing iron perchance • take a tumble or a fall • it will not have been a bomb at all • something new in breaking shall enhance / that’s the way it is in Bruxelles • you remember that alley well • the sound of white pewter piddling / a king in open country again • you are laughing already riddling • dreaming up a future in champagne…
By Frédéric Forte.
They were days of theft, our days in the woods. Let’s not
I would not describe my poetry revolutionary, nor counter-revolutionary but I rather see it as the “east-thetic” effort of an intellectual trained in humanities and who is endowed with a critical rather than a militant spirit. Of course, poems… can be read as an expression of my revolt yet this does not mean that the aesthetic dimension has been sacrificed for the sake of the cause, irrespective of how noble that might be. On the other hand, my writing is first and foremost against the ordinary linguistic material, the author, and the literary environment. Certainly, the oppressive regime can be vanquished in the name of freedom of speech without one becoming a poet… In the same note as Marin Mincu’s metaphor of the samurai I would say that a true poet would sooner commit sepukku in front of his nemesis –and any repressive regime is an enemy of death of the free speech-than accept to work for it or try to overthrow it.
a poem is — exactly the same as an empire. what is
In 1994, a group of poets and editors made a poetical encyclopaedia, in which we set out to gather all poetical knowledge at the time, instead of scientific knowledge. In the encyclopaedia you could look up the definition of words like yes and no and The meaning of life and freedom and love and cannibalism etc. Freedom was written by a prisoner who was king of the prison escapists, the entry fantasy was written by a prostitute, and so on. A lot of poets contributed, around 300, it was a kind of Wikipedia of poets. It sold 40,000 copies, and critics have now labelled the generation from 1990-2000 the encyclopaedia generation in Denmark… But a group or a generation is difficult to identify, and these groupings are often constructions made in retrospect. I have been away from Denmark for 8 years, which has given me a chance to see Denmark from outside.
The night is here again.
as we left for what your da called the badlands
On a June morning, wet
I think that visual poetry, after a surge in the 50s and 60s, stagnated somehow (with some exceptions) by the end of the 20th Century. Thanks to the Web a lively community has been formed in recent years. Due to the fact I consider “Visual Poetry” as a hypernym, the styles and expressions of individual artists differ very much, but I believe that all have the common goal to take this art form to the next level. The new chances provided by social networking, the innovative possibilities of computers and the Internet in general open up new dimensions for the artists and especially the visual poets… 
My interest in visual poetry arose relatively late, about ten years ago. In my youth I mainly painted and I was much more interested in fine arts than in literature. My pictures were particularly shaped by influences of late 19th and early 20th century paintings. Subsequently I started with text collages and concrete poetry. After meeting the Austrian poet Peter Daniel, and a trip to Jürgen Blum and his “Open Book” (concrete poetry on more than 100 house facades) in Hünfeld (Germany), I realized the great fascination of visual poetry for myself. From then on I worked primarily in that field and began, still strongly oriented to the visual language of figurative painting, to “write” images… My goal is to express ideas, strongly bound to written, spoken and visual language, and restrict myself as little as possible in “style issues”.
