{"id":90774,"date":"2015-10-12T13:00:54","date_gmt":"2015-10-12T17:00:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90774"},"modified":"2015-10-12T12:40:10","modified_gmt":"2015-10-12T16:40:10","slug":"christopher-logues-poster-poems","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/12\/christopher-logues-poster-poems\/","title":{"rendered":"Christopher Logue\u2019s Poster Poems"},"content":{"rendered":"<div id=\"attachment_90785\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/superman.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90785\" class=\"wp-image-90785\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/superman.png\" alt=\"\" width=\"600\" height=\"889\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/superman.png 675w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/superman-203x300.png 203w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90785\" class=\"wp-caption-text\"><i>Superman<\/i>, 1968 (with Trevor Wayman), 101.5 x 68.5 cm, screenprint. Distributed by Bernard Stone in an edition of 75.<\/p><\/div>\n<p>\u201cI have never been part of the London literary scene,\u201d Christopher Logue said in his <a href=\"https:\/\/www.theparisreview.org\/interviews\/1929\/the-art-of-poetry-no-66-christopher-logue\">1993 Art of Poetry interview<\/a>:<\/p>\n<blockquote>\n<p>My time has been passed with painters, antique dealers, musicians, booksellers, journalists, actors, and film people. I find it natural to collaborate with others on such things as posters, songs, films, shows. This is unusual in literary London.<\/p>\n<\/blockquote>\n<p>This collaborative spirit led him to reproduce his poems on all kinds of unlikely surfaces: mugs, beermats, T-shirts, mirrors, Tube station walls, Lake District concrete, and the silk lining of at least one gown. But Logue, who died in 2011, found his biggest success with his poster poems, a form he\u2019s said to have invented. <!--more--><\/p>\n<p>The first, an antinuclear poem called \u201cTo My Fellow Artists,\u201d he made with the designer Germano Facetti in 1958; the pair hung their prints in caf\u00e9s and bookstore windows around the city, leaving a stack of them in the lobby of the Royal Court Theatre. Their reasoning was simple: big words on posters tend to be more widely read than small words on bound pages. To put a poem on a poster is to guarantee it a certain almost involuntary readership\u2014especially valuable if, like Logue\u2019s, your poems aim to provoke, amuse, or annoy. \u201cPosters call you,\u201d Logue writes in <em>Manifesto.<\/em> \u201cSo do poems \u2026 A poem unable to live on a poster\u2009\/\u2009Is no poem.\u201d\u00a0<\/p>\n<p>By the midsixties, Logue had amassed a small series of poster poems, most with print runs of fewer than a\u00a0hundred copies. But one of them, 1966\u2019s \u201c<a href=\"http:\/\/www.paulgormanis.com\/wp-content\/uploads\/2015\/09\/labourweb.jpg\">I Shall Vote Labour<\/a>\u201d (\u201cI shall vote Labour because if I do not vote Labour\u2009\/\u2009my balls will fall off\u201d) sold thirty thousand copies; it was for sale in Tom Salter\u2019s Carnaby Street boutique, Gear, an iconic sixties counterculture shop.<\/p>\n<p>Logue continued to make poster poems through 2004, collaborating with Colin Self, Derek Boshier, Ian Cameron, John Sankey, Scott King, and Michael English, among others. <a href=\"http:\/\/www.robtufnell.com\/Exhibitions\/Logue%20Poster%20Poems\/index.html\" target=\"_blank\">His posters are on display at Rob Tufnell Gallery, in London, through November 7<\/a>.<\/p>\n<p><div id=\"attachment_90780\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/chen_web_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90780\" class=\"wp-image-90780\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/chen_web_1.jpg\" alt=\"\" width=\"600\" height=\"769\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/chen_web_1.jpg 922w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/chen_web_1-234x300.jpg 234w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/chen_web_1-799x1024.jpg 799w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90780\" class=\"wp-caption-text\"><i>Bamboo in the Wind (Chen)<\/i>, 1966 (with Ian Cameron), 58 x 45 cm, lithograph.<\/p><\/div> <div id=\"attachment_90777\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sex-cars-sex-wars-sex-web_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90777\" class=\"wp-image-90777\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sex-cars-sex-wars-sex-web_1.jpg\" alt=\"\" width=\"600\" height=\"789\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sex-cars-sex-wars-sex-web_1.jpg 899w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sex-cars-sex-wars-sex-web_1-228x300.jpg 228w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/sex-cars-sex-wars-sex-web_1-779x1024.jpg 779w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90777\" class=\"wp-caption-text\"><i>Sex War Sex Cars Sex<\/i>, 1967 (with Derek Boshier), 58.2 x 44.5 cm, screenprint.<\/p><\/div> <div id=\"attachment_90779\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/manifesto_web_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90779\" class=\"wp-image-90779\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/manifesto_web_1.jpg\" alt=\"\" width=\"600\" height=\"956\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/manifesto_web_1.jpg 742w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/manifesto_web_1-188x300.jpg 188w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/manifesto_web_1-643x1024.jpg 643w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90779\" class=\"wp-caption-text\"><i>Manifesto<\/i>, 1969 (with Derek Boshier), 101.5 x 64.5 cm, screenprint.\u00a0<\/p><\/div> <div id=\"attachment_90775\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/to-my-fellow-artists-web_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90775\" class=\"wp-image-90775\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/to-my-fellow-artists-web_1.jpg\" alt=\"\" width=\"600\" height=\"789\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/to-my-fellow-artists-web_1.jpg 899w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/to-my-fellow-artists-web_1-228x300.jpg 228w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/to-my-fellow-artists-web_1-779x1024.jpg 779w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90775\" class=\"wp-caption-text\"><i>To My Fellow Artists<\/i>, 1958 (with Germano Facetti), 50 x 37.8 cm, lithograph.<\/p><\/div> <div id=\"attachment_90778\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/pop_web_1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90778\" class=\"wp-image-90778\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/pop_web_1.jpg\" alt=\"\" width=\"600\" height=\"803\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/pop_web_1.jpg 883w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/pop_web_1-224x300.jpg 224w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/pop_web_1-765x1024.jpg 765w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90778\" class=\"wp-caption-text\"><i>Pop Song<\/i>, 1966 (with Derek Boshier), 101.5 x 76 cm, screenprint.\u00a0<\/p><\/div><\/p>\n<p><em>Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cI have never been part of the London literary scene,\u201d Christopher Logue said in his 1993 Art of Poetry interview: My time has been passed with painters, antique dealers, musicians, booksellers, journalists, actors, and film people. I find it natural to collaborate with others on such things as posters, songs, films, shows. This is unusual [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,9205,4846,17377,12338,19752,17379,19753,7676,11172,19754,19755,1050,19757,7221,2047,19750,9397,19749,19756,19751],"class_list":["post-90774","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-art-of-poetry","tag-britain","tag-british-poets","tag-christopher-logue","tag-colin-self","tag-counterculture","tag-derek-boshier","tag-galleries","tag-germano-facetti","tag-ian-cameron","tag-john-sankey","tag-london","tag-michael-english","tag-poems","tag-poets","tag-poster-poems","tag-posters","tag-rob-tufnell","tag-scott-king","tag-tom-salter"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - 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