Due to the tumultuous nature of Picasso's writings, many are difficult to read and a comprehensive concordance serves as a necessary accompaniment to understanding the multiple values of specific words in diverse contexts. Picasso's sudden turn towards poetry in 1935 is said to have coincided with a devastating marital crisis, resulting in a considerably reduced output of plastic art. Writing became his alternate outlet. The flow of words in his poems, similar to his paintings, is rapid, violent, pushing and twisting from one image to another; it ignores punctuation and orthography, even defying syntax. However, for Picasso, the workings of poetry cannot be said to involve 'automatic writing', which he has been known to deride. His poems in fact were often open to a flux of changes, additions, and erasures. Very few of his poems remain in their pristine state; they are perpetually in the making, constantly evolving. The text unfurls and transforms itself. It can be read in the continuity of its states like a unique, metamorphosing text, or it can be read separately, as individual entities.
We are in fact faced with a 'multiple text', which offers several readings through its successive 'rewritings'. For all these reasons, Picasso's writings are particularly difficult to read, and a comprehensive concordance is almost a required accompaniment to understand the multiple values of specific words in diverse contexts. Words proliferate, attract others, and frequently favor the paradigmatic line of language, thus freeing them from their syntagmatic constraints. Androula Michael has defined Picasso's poetry as a space of labyrinthine writing, and this concordance provides a useful thread to attempt an escape from such a labyrinth. In the end, users of this concordance come to realize that the final goal of Picasso's complex poetry is to provide a view of reality which is unavailable beyond language, and yet, utilizes ordinary words we usually choose to neglect. In this sense, his literary output is directly related to the innovations he introduced during analytic and synthetic cubism. Cubism has been called an art of conception, rather than perception.
Words appear to float unattached, defining multiple semantic domains, thus emphasizing the creative role of representation in our linguistic perception of reality. The same may be said about Picasso's poetry as evidenced in this concordance.