{"id":1262,"date":"2005-10-13T15:39:30","date_gmt":"2005-10-13T22:39:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/10\/poetry_without_words\/"},"modified":"2005-10-13T15:39:30","modified_gmt":"2005-10-13T22:39:30","slug":"poetry_without_words","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/10\/poetry_without_words.html","title":{"rendered":"POETRY WITHOUT WORDS"},"content":{"rendered":"

And now for a change of pace. . . .

\"Collage<\/center>
\n<\/font >
\n
Three Poems<\/STRONG><\/font> (for Dick Wold)<\/center>
\"Poem<\/center>
\"Poem<\/center>
\"Poem<\/center>
— Norman O. Mustill<\/I><\/STRONG><\/i><\/font><\/center>
\n
\"Collage<\/center>
\n— Tireless Staff of Thousands<\/i>
\nPostscript:<\/strong> Should’ve mentioned that “Three Poems” was originally published 31 years ago in a collection of avant-garde artworks, “a great big diary” rather than an anthology, called the “Something Else Yearbook 1974.”<\/strong><\/font><\/a> The two collages come from “Flypaper”<\/strong><\/font><\/a> (Beach Books, Texts & Documents, 1967).<\/p>\n","protected":false},"excerpt":{"rendered":"

And now for a change of pace. . . . Three Poems (for Dick Wold)— Norman O. Mustill — Tireless Staff of Thousands Postscript: Should’ve mentioned that “Three Poems” was originally published 31 years ago in a collection of avant-garde artworks, “a great big diary” rather than an anthology, called the “Flypaper” (Beach Books, Texts […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1262","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-km","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1262"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1262\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}