This is a series of four contemporary poems. They are an imaginary depiction of four different urban realities. Poetry is clearly more ancient than the discourse on poetry; history reveals that the poem has always belonged to a more primal theurgical or ritual function. The concrete poems here presented should also be read as a conscious return to the Calligrammes of Apollinaire, the permutational poems of the Jewish cabalists, the graphics of the tail's mouse in the wonderland of Carroll, the poetry of George Perec, the anagrams of the early Christian monks, the carmina figurata of the Bubolic poets in Greece, etc.

 

These concrete poems are presented in the same futurist spirit of Marinetti and as a contemporary apology to the early disappearance of the Noigandres poets of Sao Paulo. A concrete poem is nothing but a visual poem with or without a linguistic syntax; in our case, these set of four concrete poems is also a representation of the city and its multiplicity of components i.e.: the building, the block, the public space, its infrastructure, etc. These are our amulets, invoking a poetic language as both prescriptions and cures for our various contemporary threats and illnesses.

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