Concrete Poetry: The Art of Shape and Form

Concrete poetry, a subset of visual poetry, is a form in which the visual arrangement of words on the page contributes directly to the meaning and impact of the poem. Unlike traditional poetry, which relies primarily on language, rhythm, and sound, concrete poetry treats the page as a canvas, where shape, line length, spacing, and visual patterns become integral elements of expression. The poem’s layout interacts with the text itself, guiding the reader’s eye, emphasizing thematic content, and often creating a physical embodiment of the poem’s subject.

Sarah B. Royal’s poem Little Paws exemplifies the principles of concrete poetry:

Little Paws

A Flop. A Curl. A Hug. A Wag.
Little paws patter, soft as a white cloud Max.
With love in each step, you curl beside me,
and we dream. Floppy ears, softest fur,
so dear. My constant friend,
you stay close, like a hug on a cold
day. We run, we rest. You know best,
my little Max, my joy. My heart’s
delight, my furry friend, my
tail-wagging love till
the very end.

The visual layout of Little Paws mirrors the subject: a small dog’s paw moving with energy and affection. Short, playful lines like “A Flop. A Curl. A Hug. A Wag.” mimic the quick, light movements of a pet, while the staggered line breaks, descending toward the page’s end, visually suggest the gentle settling of the dog at the narrator’s side. The poem’s pacing is thus inseparable from its shape: the reader experiences the poem both visually and aurally, feeling the rhythm of tiny steps, curls, and rests.

Concrete poetry like this also demonstrates how line length and spatial placement enhance emotional resonance. In Little Paws, Royal uses longer lines when describing the pet’s affectionate closeness—“With love in each step, you curl beside me, / and we dream”—creating a sense of expansion and warmth. Shorter, more abrupt lines convey action and immediacy, as seen in the opening line or the closing emphasis, “tail-wagging love till / the very end.” The physical form of the poem mirrors the subject matter, making the reading experience tactile, almost performative, in its interplay of word and space.

Historically, concrete poetry emerged in the 20th century as poets sought to break free from purely linguistic conventions, merging visual art with literary craft. It challenges the notion that poetry is solely an auditory or semantic medium, insisting instead that meaning can arise from how words inhabit space. In the hands of a poet like Sarah B. Royal, concrete poetry becomes a way to capture motion, emotion, and personality simultaneously, showing that the physicality of text can deepen the reader’s engagement and understanding.

Concrete poetry demonstrates that form and content can be inseparable. In Little Paws, Sarah B. Royal illustrates how playful lineation, spatial arrangement, and visual rhythm can bring a poem to life, making the page itself part of the experience. By merging visual aesthetics with narrative and emotional depth, Royal proves that poetry need not be confined to the auditory realm; it can also be seen, felt, and spatially experienced, offering readers a multidimensional encounter with language, shape, and sentiment.