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Yes I agree with this, I spent quite a bit of time with his work many years ago; it's a bit like Breton Hazel On 12/08/2013, at 5:48 PM, Hampson, R wrote: My memory is that his own work was very closely following the kind of poetic devices used by the French surrealists – both in terms of syntax and ‘images’. I was thinking of the use of parataxis, anaphora, repetitions and ‘images’ as in the following: today is the day when the streets are full of hearses and when women cover their ring fingers with pieces of silk when the doors fall off their hinges in ruined cathedrals when hosts of white birds fly across the ocean from America etc etc Robert From: British & Irish poets [mailto:[log in to unmask]] On Behalf Of Tim Allen Sent: 12 August 2013 16:19 To: [log in to unmask]<mailto:[log in to unmask]> Subject: Re: "What’s in a Name?: The Art & Language Group and Conceptual Poetry" Hi Robert - yes I thought about Gascoyne but I was thinking that his work (outside of the translations) did not possess the same language texture or sense of free play - I'm probably wrong - it's a while since I read Gascoyne. Cheers Tim On 12 Aug 2013, at 13:25, Hampson, R wrote: Someone might have already said this, but the ‘linguistic influence’ was available from the start via David Gascoyne – both his translations and his own early poetry. Robert From: British & Irish poets [mailto:[log in to unmask]] On Behalf Of Tim Allen Sent: 08 August 2013 12:30 To: [log in to unmask]<mailto:[log in to unmask]> Subject: Re: "What’s in a Name?: The Art & Language Group and Conceptual Poetry" Yes, that's true, the surrealist tinge that got to some of the deep image stuff was, linguistically speaking, mild, but there was an important exception where the influence went all the way: Philip Lamantia. But even his things were largely a visual surrealism transposed into words, as was most of the work of the English surrealists as well. Some people may not agree with me on this and there were, again, a few exceptions where it took a more language turn, but they are quite obscure names now - I'll have to look them up again. The more linguistic influence came later when people like the Waldrops etc began translating.The whole French thing had a huge impact on Ashbery as it did here with Lee Harwood. Tim A. On 7 Aug 2013, at 19:11, Jaime Robles wrote: Another example might be the Surrealists. In the US this is thought of as a visual art movement, while in fact it was a verbal art movement to begin with, with heated discussions on whether it was even possible for the movement's tenets to be used in visual art. Because French is not the predominant language in the US, the verbal aspect of Surrealism was almost completely lost in its transAtlantic migration. Prof. Hazel Smith Writing and Society Research Centre College of Arts (Bankstown 3.1.134) UNIVERSITY OF WESTERN SYDNEY Locked Bag 1797 Penrith, NSW, 2751 tel: 9772 6400 email: [log in to unmask]<mailto:[log in to unmask]> See also my webpage at www.australysis.com<http://www.australysis.com> The Erotics of Geography: poetry, performance texts, new media works http://www.tinfishpress.com/erotics.html Practice-led Research, Research-led Practice in the Creative Arts http://www.eupjournals.com/book/9780748636297 The Writing Experiment: strategies for innovative creative writing http://www.allenandunwin.com/writingexp/book.htm