Abstract

In poetry, exploration in layout and visual rhythm has made way for non-static visual poetry that has transcended the boundary of form, space, and semantic content. Brian Kim Stefans’ The Dreamlife of Letters based on Rachel Blau DuPlessis’ appropriated text, “Draft#7:Me” in turn inspired by Dodie Bellamy’s “Sex/Body/Writing,” exemplifies the boom of the Flash animation of the 1990s to 2000s wherein the focus lies in language, identity, and technology. The present research article endeavours to establish Brian Kim Stefans’ “The Dreamlife of Letters” as a specimen of how kinetic poetry and memory studies intersect, as both delve in ideas such as perception, embodied experience, and time.