Meaning: The quote by Ian Hamilton Finlay, a Scottish poet, artist, and gardener, reflects his thoughts on concrete poetry and its potential for public settings. Concrete poetry, also known as visual poetry, is a form of poetry in which the visual arrangement of the words and letters on the page is as important as the words themselves in conveying the meaning and emotion of the poem. This form of poetry emerged in the 1950s and 1960s and was often associated with avant-garde and experimental movements in literature and art.

In the quote, Finlay expresses his belief that concrete poetry is uniquely well-suited for public settings. This suggests that he saw concrete poetry as a form of art that could be accessible and engaging to a wide audience, beyond the confines of traditional literary circles. By emphasizing its potential for public settings, Finlay likely envisioned concrete poetry being integrated into public spaces such as parks, urban environments, and architectural structures, where it could be experienced by people in their everyday lives.

Finlay's assertion that concrete poetry is suited for public settings aligns with the nature of the form itself. Unlike traditional poetry, which is often confined to books and literary journals, concrete poetry emphasizes the visual and spatial aspects of language, making it inherently more engaging and accessible to a broader audience. The use of typography, layout, and design in concrete poems creates a visual impact that can be appreciated by individuals who may not be regular readers of poetry.

Furthermore, by suggesting that concrete poetry is suitable for public settings, Finlay may have been advocating for the integration of art and poetry into the fabric of everyday life. He likely saw the potential for concrete poetry to enhance public spaces, evoke emotions, and provoke thought in a manner that traditional forms of public art, such as sculptures or murals, may not achieve. This aligns with the broader movement of bringing art out of galleries and museums and into the public realm, making it more inclusive and relevant to people's lives.

It is worth noting that Finlay's statement about not getting much chance to implement his idea of using concrete poetry in public settings raises questions about the practical challenges and limitations he may have encountered. While he recognized the potential of concrete poetry in public spaces, it is possible that he faced obstacles in finding opportunities to realize this vision. Factors such as funding, permissions, and the willingness of public authorities to embrace unconventional forms of art and poetry may have presented barriers to the widespread integration of concrete poetry in public settings during Finlay's time.

In conclusion, Ian Hamilton Finlay's quote encapsulates his belief in the potential of concrete poetry as a form of art that is well-suited for public settings. His vision aligns with the inherent visual and accessible nature of concrete poetry, as well as the broader movement of integrating art into public spaces. While he may not have had ample opportunities to realize his idea, his perspective sheds light on the enduring appeal of concrete poetry as a medium that transcends traditional literary boundaries and has the capacity to engage and inspire diverse audiences in public settings.