Fragmented glimpses (at the Artpool Archives in Budapest) of some of Levy’s works had a profound influence on me. There’s the my title Egyptian Fax Chamber which is deliberately echoic of Egyptian Stroboscope [although there doesn’t seem to be any thematic overlap].
Yet, when I got a copy of The Buddhist Third Class Junk Mail Oracle some 15 years later, I no longer identified with it. There’s no doubting the impact that Comment on the Acid Landscape (see below) had on me -- I did so much typewriter work like that in Budapest (sadly, I did virtually none after my return to the US and being surrounded by TV and getting a computer). Maybe I need to dig into this again; as it it, I’m so disconnected from words and letters as immanent things...
This is one of the things I love about typewriter/concrete-poetry: it’s not linear. THERE ARE NO (tyrannical) LINE(s de)AR. They exist, but they are subsumed by caterwauling, catty-cornering, free-falling text in exploration of (flat, planar) space.
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