Gulf Park College - Sea Gull Yearbook (Gulfport, MS)

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The American Hieroglyphics HAVE called these fantasy drawings of mine United States Hiero- glyphicsf' It is really the old Spencerian System of Penmanship, ag evolved in a special way. You remember the old calling card writers G9 at the county fairs, who would write a dozen cards of your name, 5.5 adding a bird made of the same script 'and carrying a little note in its beak. Drawing stroke and writing stroke were with the same pen, the XJ same way, at the same time. I wrote the name of Constance Ivy on the page, then evolved the script strokes into an abstract composition. The composition, then, I turned into a picture. Then I wrote the verse in script, not only to describe the picture, but in the same fabric and pen stroke as the drawing. I have done this in many parlors of the poets, using their names in this fashion, from Amy Lowell to Robert Frost. Let them explain the process as they please, commending or not, as they willg they have at least amiably witnessed the stunt. I illustrated Going to the Sun in much this fashion. It is really Cin a kind of shorthandj my whole method of producing verse. It is, indeed, the process, reduced to its essence, as far as my personal habit goes, much more than writing for recitation. The evening I did f'The Phoenix Hen, in the Glulf Park Studio, I drew pictures around the names of each member of the Annual Staff, in turn, and wrote verses for the pictures, in this fashion. This particular one was voted the best of the evening- The Phoenix Hen. Two years ago, speaking for the University of VVashington at Seattle, I spent several days afterward visiting around, and had the pleasure of meeting three Japanese poets, who improvised verses all one evening. They would write a few characters on the paper, but the brief poem was not done until some character was developed into a plum blossom, if that was the subject of the poem, or a crane, or a man, as the case might be. And then I did this stunt of mine, with their names. The principle of the unity of drawing, and poem, and script, is hundreds of years old in China and Japan. And I have found the same unity in Egyptian hieroglyphic poems. They are put together like wall paper patterns, with the cartouches mathematically repeated in refrain, like the row of big roses on the wall paper of grandma's front parlor. Some poems are Hreligiozz-by-inmntfztiozz, others religion-by-irzscription. Japanese, Chinese, and Egyptian poems are 'religio11-by- inscription, and I hope the best of my American Hieroglyphic verses may some day approximate religion-by-insfrijmIion. NICHOLAS XIACHEL LiNns.w. I7

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