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The same sort of thing happened in my dispute with the National Trust book: Follies: A National Trust Guide, which implied that the only pleasure you can get from Folly architecture is by calling the architect mad, and by laughing at the architecture.
For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don’t have control over whether this feeling is in me or not.
But I can only write what the muse allows me to write. I cannot choose, I can only do what I am given, and I feel pleased when I feel close to concrete poetry – still.
But at the beginning it was clear to me that concrete poetry was peculiarly suited for using in public settings. This was my idea, but of course I never really much got the chance to do it.
Well, probably I was fed up with concrete poetry. There was a lot of bad concrete poetry and besides, it was confused with visual poetry which was completely different.