Meaning: James Laughlin, an American poet and publisher, expressed his thoughts on concrete poetry with the quote, "Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going." This quote reflects Laughlin's perspective on the nature of concrete poetry and his uncertainty about the future direction of poetry as a whole.

Concrete poetry, also known as visual poetry, is a form of poetry in which the visual arrangement of words and letters on the page is as important as the meaning of the words themselves. The visual presentation of the poem often contributes to its overall message and impact. Rather than following traditional poetic conventions, concrete poetry embraces innovative and unconventional forms, using typography, spacing, and visual elements to convey meaning and emotion.

Laughlin's remark about concrete poetry being "more visual than oral" suggests that he views concrete poetry as primarily a visual art form. While traditional poetry is often intended to be read aloud and appreciated for its oral qualities, concrete poetry prioritizes the visual experience of the words and shapes on the page. The visual arrangement of the text becomes integral to the understanding and interpretation of the poem, blurring the lines between language and visual art.

Furthermore, Laughlin's assertion that concrete poetry "almost really belong[s] on the wall rather than in a book" speaks to the idea that the physical space in which a concrete poem is presented is significant. Unlike conventional poetry that is typically bound within the pages of a book, concrete poetry often transcends these boundaries and can be displayed as visual art in galleries, public spaces, or on digital platforms. The spatial and environmental context in which a concrete poem is encountered can enhance its impact and contribute to its meaning.

Laughlin's uncertainty about the future of poetry as a whole reflects the ongoing evolution of poetic expression and the diverse directions in which poetry can develop. As a poet and publisher, Laughlin was likely attuned to the changing landscape of poetry and the emergence of new forms and movements. His statement acknowledges the fluid and dynamic nature of poetry, suggesting that its trajectory is unpredictable and open to continual reinvention.

In conclusion, James Laughlin's quote offers insights into the nature of concrete poetry and his contemplation of the evolving poetic landscape. His perspective on the visual nature of concrete poetry, its relationship to physical space, and the uncertain future of poetry highlights the innovative and exploratory spirit of poetic expression. Concrete poetry continues to inspire creators and audiences alike, challenging traditional notions of poetic form and inviting engagement with language as a visual and visceral art form.