Jump to ContentJump to Main Navigation
Border BlursConcrete Poetry in England and Scotland$
Users without a subscription are not able to see the full content.

Greg Thomas

Print publication date: 2019

Print ISBN-13: 9781789620269

Published to Liverpool Scholarship Online: May 2020

DOI: 10.3828/liverpool/9781789620269.001.0001

Show Summary Details
Page of

PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 04 July 2022

Order and Doubt

Order and Doubt

Ian Hamilton Finlay

Chapter:
(p.65) Chapter Three Order and Doubt
Source:
Border Blurs
Author(s):

Greg Thomas

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781789620269.003.0003

The Edinburgh-based poet Ian Hamilton Finlay was both the first publisher of concrete poetry and the first published concrete poet in Britain. But his interaction with the movement was relatively brief, beginning in the spring of 1962 when he discovered the international style through Edwin Morgan, and coming to an end by the late 1960s. Finlay initially seized on concrete poetry as a means of extending the dimensions of poetry beyond linear verse. He utilised concrete poetry’s capacity to combine linguistic and non-linguistic composition to establish or enrich metaphorical links between disparate objects, phenomena, and cultural contexts. This approach, indebted to classical concrete, reflected both his opposition to the restrictions of Scottish literary culture during the 1960s, and a sense of the value of aesthetic order which had ideological and biographical connotations. But his interaction with the concrete movement quickly became fraught, reflecting both the inbuilt constraints of the style and his opposition to its perceived co-option by the sixties counter-culture. Through his production of card and booklet-poems, followed by poems in glass, wood and stone, and finally, three-dimensional poems set in the landscape around his home at Little Sparta, Finlay moved gradually but decisively away from concrete practice.

Keywords:   Ian Hamilton Finlay, Concrete poetry, Scottish literary culture, Metaphor, Order, Threedimensional poems, Landscape, Little Sparta

Liverpool Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.