Feminist visual poetry that rewrites avant garde poetic history
OO: Typewriter Poems is a book of vispo (visual poetry) glosas (a Spanish poetic form that pays tribute to another poet by incorporating their lines) designed to begin to dismantle the masculinist legacy of avant-garde visual poetics. Avant-garde visual poetics has long been interested in a vanguardism designed to push the genre further using technological advances, and hidden in this vanguardism is a deeply communal, deeply feminist poetics of derivation, homage, and love.OO takes up this communal poetics. The visual poems in this collection merge analog technology (the typewriter) with digital alteration designed to look back, not forward. At once paying homage to the long history of visual poetics and critiquing the progressivist and masculinist ideals that continue to inform the genre, the poems in OO quote uncited lines from visual and concrete poems by some of the major figures of visual poetics (bpNichol, John Riddell, Bob Cobbing) as well as several under-read and understudied female visual poets (Cia Rinne, Mirella Bentivoglio, Paula Claire).
Dani Spinosa is a poet of digital and print media, an on-again-off-again precarious professor, the managing editor of the Electronic Literature Directory, and a co-founding editor of Gap Riot Press, a feminist experimental micro-press. She has published three poetry chapbooks with No Press (Glosas for Tired Eyes, Chant Uhm, and Incessantly) and one with above/ground press (Glosas for Tired Eyes Vol. 2) and her first scholarly manuscript, Anarchists in the Academy: Machines and Free Readers in Experimental Poetry was published by the University of Alberta Press (Spring 2018). She can be found online at www.genericpronoun.com and in person in Toronto.
“I’m so glad this book exists—for what it means not only to me to read it now, but for what it will mean to others who are looking for a way into vispo that speaks to them and their lives. I love that it exists for the people who are going to be totally blown away by Spinosa and Siklosi’s conversation, having never read anything quite like that before. This book is a real gift to vispo, its fans and present and future practitioners.”—Helen Hajnoczky, A Teacozy Is a Sometimes
“This collection is both Spinosa’s personal study in the history of visual and concrete poetry as well as a collection of original works… She’s clearly done her research, and if one were even to put together an anthology of or essay on the history of concrete and visual poetries, this would be the list of names included. Or, given Spinosa’s deliberate inclusion of these multiple women practitioners, this is the list of names that should be included; and hopefully, in part through Spinosa’s work, a list of names that will no longer be overlooked.”—rob mclennan
“Dani Spinosa’s OO pushes buttons, turns keys, and swipes, steals and homages all over poetry. Every poem demands you LOOK AGAIN! and see where voices slip between the keystrokes. Extravagant, interruptive, declarative and a real kick in the eyeballs.”—derek beaulieu
“WTF does Dani Spinosa think she is doing copying all these (mostly) male poets? Lock up your typewriters! Hide your anthologies of classic visual poetry! Protect yourself and the literary tradition from the stealth interventions of Spinosa, who is (mis)appropriating works by every conceivable author of graphically scored verse in the name of some kind of femmeship that involves conversations with the dead as well as the living. The former are silent on the matter and the former? We shall see. Rarely has mimicry been used to such high-level hermeneutic ends.”—Johanna Drucker
“Not only an excellent, well-researched overview of the history and tradition of typewritten visual poetry, but also—what a sly female response to it!”—Petra Schulze-Wollgast