readymades

n.(1) pieces composed of prefabricated objects such as a urinal, a shovel, or a bicycle wheel affixed to a wooden stool, which the artist situated in the middle of the exhibition space.

Duchamp saw the readymade as an opportunity to free art from the traditional confines of taste and beauty.

The Concept of Tactile Poetry

Tactile poetry breaks the traditional boundaries of literature by appealing to the senses beyond mere sight. Through her creation of prayer beads, Marron transforms written verse into an interactive experience. Each bead stands as a verse, echoing the sentiments captured in the poem, thus providing readers with a tangible representation of emotional and intellectual expressions. This innovative format mirrors Duchamp's readymades, which challenged the notion of art by recontextualizing everyday objects in a new, artistic paradigm.

Duchamp's readymades have long been a catalyst for discourse on the value and function of art. Similarly, Marron's tactile poems prompt readers to reconsider their relationship with poetry itself. Just as Duchamp's pieces encourage a dialogue about authenticity and creativity, Marron's work invites an exploration of how physical engagement with text can enhance understanding and emotional resonance. The tactile nature of her prayer beads not only stimulates a sensory response but also encourages a deeper connection to the verses they represent.

Marron's homage to Duchamp is not merely a replication of the past; it is a reimagining that integrates the philosophy of readymades into the contemporary poetic landscape. By creating a dialogue between her tactile poems and Duchamp's revolutionary ideas, Marron asserts the significance of interactivity in poetry—a call for readers to touch, feel, and fully embrace the art of words.

The impact of Sara Cahill Marron’s tactile poems extends beyond their aesthetic form; they serve as a bridge connecting literary tradition with modern sensibilities. In this homage to Duchamp’s readymades, she challenges the conventions of poetic engagement—encouraging readers to explore the physicality around text and consider the layered meanings that arise from such interaction. Ultimately, Marron’s work stands as a testament to the evolving landscape of poetry, where the interplay of forms and materials breathes life into written words.

And, as Pope John Paul said, "Without contemplation, the Rosary is a body without a soul, and its recitation runs the risk of becoming a mechanical repetition."