Abstract

This article presents a comparative and historio-philosophical analysis of the unique versification form in the works of the American poet James Minnis, situated within the wider context of European and Anglo-Saxon literary traditions. Drawing upon the Augustinian concept of the intrinsic relationship between poetry, music, and the mathematical structure of numbers (De musica), the Romanian philosopher Ion Papuc examines the evolution of poetic form from ancient oral mnemonics to modern avant-garde breakthroughs. Minnis’ oeuvre is depicted both as a continuation and an original subversion of the lineage established by Stéphane Mallarmé, Ezra Pound, and Charles Olson. The core of the analysis lies in interpreting Minnis’ signature “wavy” typography; contrary to associations with concrete poetry or Apollinaire’s calligrams, it does not serve a purely pictorial function, but functions rather as a direct, auditory notation of the author’s tone of voice and the literal rhythm of his breath during the creative process. The text is supplemented by a commentary from the translator, Tristan Korecki, which reconstructs the biographical background of the essay and sheds further light on the poet's genealogical influences.