There is No Vulgarity in Revolt Part 2: The Combative Philosophy of Vorticism

The cover of the first issue of BLAST, 1914. The bright magenta cover and massive lettering of the title were an assault on conventional graphic design of the time.

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There is No Vulgarity in Revolt Part 1: The Role of Conflict in the Formation of Vorticism

“The Mud Bath” -David Bomberg, 1914 Photo from the Tate Gallery

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Final Post

Well, I finished the first stage of my project back in June. I studied 20 poets and wrote a total of 59 poems. For the past week, I have been editing the poems that I saw potential in. There are 28 of those, of varying styles and for various purposes. Some of them I intend to look for publication on online journals and whatnot, some of them I will stick to publishing myself on my own blog, and some of them are just very personal poems that I don’t want to share with the world just yet.¬†I think my artistic poems were centered more at the beginning and in the middle. Close to the end, my poetry started becoming much more prose-like, but still very honest. Most of my best poetry is free verse, but I do have a pantoum and an ode that I really liked, as well as some rhyming poetry that turned out well. I also think I could turn one of the poems into a spoken word performance, which I was not expecting at all.

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15 Poets In, and I’m Struggling a Little

This next section of poets include Rumi, Ella Wheeler Wilcox, William Carlos Williams, Mirabai, Emily Dickinson, Rabindranath Tagore, Langston Hughes, and Anna Akhmatova. I had fewer poets that I actually connected with. Williams and Mirabai were especially difficult to connect with, and as such, my writing wasn’t as good. ¬†Generally, I write only 2-4 poems for each poet, but for Dickinson I wrote 1 poem, and for Rumi I wrote 9 poems (most of them were single quatrains, like he writes). I have written a total of 26 poems for these 8 poets for a total (so far) of 44 poems.

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