A pioneer of sound, visual, and performance poetry, bill bissett composes his poems as scripts for pure performance and has consistently since the 1960s worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry. bissett’s latest collection since the monumental breth (Talonbooks, 2019), its th sailors life / still in treatment is, using the poet’s own words, “an epik poetik novel uv langwage n speech” confronting “thos controlling effekts on us” and about “acceptans uv loss greef separaysyuns charaktrs in serch uv self liberaysyun n societal equalitee n all th forces against that path.” Eschewing the artificial hierarchies of meaning and the privileging of things (“proper” nouns) over actions imposed on language by capital letters; the metric limitations imposed on the possibilities of expression by punctuation; and the illusion of formal transparency imposed on the written word by standard (rather than phonetic) spelling, bissett’s expressive assemblages in this collection are “like walking thru sum fne lines.” The poems in this collection are coupled with stunning illustrations by the author.

A pioneer of sound, visual, and performance poetry, bill bissett composes his poems as scripts for pure performance and has consistently since the 1960s worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry. bissett’s latest collection since the monumental breth (Talonbooks, 2019), its th sailors life / still in treatment is, using the poet’s own words, “an epik poetik novel uv langwage n speech” confronting “thos controlling effekts on us” and about “acceptans uv loss greef separaysyuns charaktrs in serch uv self liberaysyun n societal equalitee n all th forces against that path.” Eschewing the artificial hierarchies of meaning and the privileging of things (“proper” nouns) over actions imposed on language by capital letters; the metric limitations imposed on the possibilities of expression by punctuation; and the illusion of formal transparency imposed on the written word by standard (rather than phonetic) spelling, bissett’s expressive assemblages in this collection are “like walking thru sum fne lines.” The poems in this collection are coupled with stunning illustrations by the author.

A pioneer of sound, visual, and performance poetry, bill bissett composes his poems as scripts for pure performance and has consistently since the 1960s worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry. bissett’s latest collection since the monumental breth (Talonbooks, 2019), its th sailors life / still in treatment is, using the poet’s own words, “an epik poetik novel uv langwage n speech” confronting “thos controlling effekts on us” and about “acceptans uv loss greef separaysyuns charaktrs in serch uv self liberaysyun n societal equalitee n all th forces against that path.” Eschewing the artificial hierarchies of meaning and the privileging of things (“proper” nouns) over actions imposed on language by capital letters; the metric limitations imposed on the possibilities of expression by punctuation; and the illusion of formal transparency imposed on the written word by standard (rather than phonetic) spelling, bissett’s expressive assemblages in this collection are “like walking thru sum fne lines.” The poems in this collection are coupled with stunning illustrations by the author.