The contemplative ‘typewritings’ of Benedictine monk Dom Sylvester Houédard steal the show in a fascinating two-part survey of 20th-century experimental poetry
The contemplative ‘typewritings’ of Benedictine monk Dom Sylvester Houédard steal the show in a fascinating two-part survey of 20th-century experimental poetry
Which is to say that although his works are composed of the letters and punctuation marks of an old manual Olivetti, they are not meant to beso much as viewed. And what you see, on the framed A4 pages he liked to use, can be almost entirely abstract. A shifting pattern of dots, whirling constellations of commas, a vibration of hyphens that is something like visual interference.
What is so surprising is the way Houédard’s images hold the page so powerfully as to suppress all curiosity about which letters he is using. A figure seems to be walking upstairs, or perhaps it is downstairs. There is no figure; there are no stairs. In fact there are only innumerable hyphens. But so superb, and subtle, is the configuration of all these fractional lines that it seems as if someone is ascending, or descending, through a body of air.
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