PN Review Print and Online Poetry Magazine
Most Read... Rebecca WattsThe Cult of the Noble Amateur
(PN Review 239)
Mark FordLetters And So It Goes
Letters from Young Mr Grace
(aka John Ashbery)

(PN Review 239)
Henry Kingon Toby Martinez de las Rivas
(PN Review 244)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Jamie OsbornIn conversation with Sasha Dugdale
(PN Review 240)
Poems Articles Interviews Reports Reviews Contributors
PN Review Blog
Monthly Carcanet Books
Next Issue Vahni Capildeo The Boisterous Weeping of Margery Kempe Paul Muldoon The Fly Sinead Morrissey Put Off That Mask Jane Yeh Three Poems Sarah Rothenberg Poetry and Music: Exile and Return

This report is taken from PN Review 55, Volume 13 Number 5, May - June 1987.

Letter from Belgium François Jacqmin
Does Francis Edeline's proximity to the Forest of the Ardennes account for his aptitude in finding 'tongues in trees, books in running brooks, / sermons in stones?' It can be said with a fair amount of certainty that this tall, learned and bearded Belgian engineer-poet is endowed, among numerous gifts, with a special flair for tracking down and collecting whatever mechanical contrivances, motor-assisted appliances, never-never instruments and generally any sort of physical construction tending to interpret and generate the concept of poetry. An apt instance of his keenness to sift poetry, or allusions conducive to it, from the practical world was afforded in 1986 in the city of Liège where the 15th Biennales Internationales de Poésie were held 11-15 September at the Palais des Congrès of this once prosperous town. In a slim, condensed catalogue1 entitled La Chute des Feuilles (The falling of the leaves) and modestly subtitled Exposition de Machines Poétiques, Francis Edeline makes no bones about his conviction that 'mechanical' poetry is not just another way of considering poetry and certainly not an intellectual indulgence. It is poetry in its own right. Concrete and visual poetry have emerged and developed their own intrinsic values. He goes on to explain that it is only the combination of two specific planes or levels, space and movement, which can properly be considered as the basis of what one calls 'poetical machines'.

In fact, the poetical machines and the various artifacts exhibited in Liège are not meant to denigrate or to ...


Searching, please wait... animated waiting image