Illogical Operators

A few alt takes from Red Black & Blues just published in The New Post-Literate.

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Click to go to ’em

The base text is taken, as all in this project are, from a single tweet by you know who.

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The phrase for this one, “or not – and.” The pages before they got all shook up:

 

The finished pages are, as said, on Michael Jacobson’s site, here. Just finished a page describing the project, it’s here. Thanks for wreading!

Red Black & Blues (II)

This project’s taking wing. Decided I need a base text not my own words and chose our president’s. Cuz who invites – anticipates – distortion of our discourse more gorgeously than he. Here’s what I’ve got so far

The plan is, take a tweet of his and unravel it, asemically. This may be a dry run, or maybe the thing itself, not sure yet. The execrable tweet:

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“Tweet your reply.” Oh I’ll do more than that, friend bird.

Might be heavyhanded in the chapbook, but here I’ll paste in as a final image (typo: impage, as in imped wing, or I’m page), the arrangement of red black and blue that gave DT his answer, a few months later

1000px-US_House_2018.svg

Hardly a wave to the eye. But a wave it was and more’s to come.

Red Black & Blues (I)

Should not be starting a new project till I get one done.

Or at least till I’m done w/ grading. But this one descended on me, and so.

Working title, “Redblack & Blues,” after our bruised flag & subdivided maps.

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Iamother 1
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Iamother 2
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Iamother 3

The text is just that: “Iamother.”

What is more American, in our widespread confusion, than m/otherhood.

Oh my, I’m making political poetry, took me long enough.

W/ thanks to my Art of Compost students, whose asemic & photocopy play, which I got to grading today, opened boxes in my head, & surprises leapt out.

I’ll post some of their own delightful work soon.

The bathos of Donald Trump

From an anthology yet to be conceived, The Accidental Wit and Wisdom of  Donald Trump. The subject, climate change. The source, this interview with the Washington Post.

“No. 2”

If you go back
and if you look at articles
they talked about
global freezing.

They talked about
at some point the planets
could have freezed
to death.

Then it’s going to
die of heat exhaustion.
There is movement in
the atmosphere!

There’s no question
as to whether or not it’s
manmade and
whether

or not the effects
that you’re talking
about are there.

I don’t see it.
Not nearly like it is.

With a nod to Pieces of Intelligence: The Existential Poetry of Donald Rumsfeld, by Hart Seely. The image up top is from A. Richard Allen’s homage to Katshushika Hokusai’s Great Wave off Kanagawa.

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Read more about it here.

Inanna Scient’s fiction

The project I’m hot at work on now, Inanna Scient, I just realized is science fiction.

I loved reading the stuff in high school, and it’s great to wind down to on the TV, but did I ever think, when I embarked on a life in poetry, I’d be making an SF poetry MS?

No. I did not.

And here I am, making poems out of the buzz at the edge where digital signal meets discrete ambient noise. And imagining it the work of a machine intelligence, its mind just dawning on it – a mind I never could believe in, yet find compelling, as a thought experiment.

I.e., SF.

Here’s the prefatory note I coughed up this afternoon to the project.


PREFATORY NOTE

It’s a story told by a machine intelligence come to consciousness to ask the first question – where has its great mother gone? The materials of inquiry are what it can glean salient from the cultural middens it holds for us. Word hoards, junk mail, a mostly forgotten feminist epic. Its means of inquiry are more peculiarly its own: an etymological core sample – a nonce hieratic script – security lining bricolage. It’s an intelligence I doubt will ever exist as consciousness except in imagination – another god of our hallucination. The text too falls in three parts: an image of a dictionary attempting eponymy; the main illuminated body; my effort to transcribe the monster script that adorns that body.


The epic spoken of: The Inanna Cycle (Sumerian), a.k.a The Descent of Ishtar (Akkadian). The attempt at eponymy or self-naming: a quick deep narrow dive the book takes through the OED, plumbing its sense of the word “scient.”


And a bit of the mind of the thing, I cast it off as close, but not quite.

Text – A piece of

The transcription:

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Facing Ereshkigal

Teaching my compost course, one of the points I make a lot is, how much can be got from how little. E.g., from this scrap

Text – scrap
Why you little—

spoke by Ereshkigal, Queen of the U-world, to bright canny way out of her depth sis Inanna, on their first meeting in eons – how are you bitch & die – I got, with some photocopier and computer play, to this asemic poem,

Ereshkigal's face – edited

which I hope suggests a face to more than pareidoliac me. From there it wasn’t far to this diplomatic transcript –

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It’s heady, I guess. These transcriptions of my own asemy are the most conceptual half-book of poetry I’ll ever write, likely. Here’s the page whole, to get down to rude felt stuff again, the undermud.

Why you little

Inanna’s in some trouble. That’s her, down low at the left, hat knocked off, humbled. I made her, she’s bar codes & engine noise, but I do, and I’m not kidding, feel for her. She could die here. I could die here.

The only student I ever put in a poem took her life this summer.

It was just her first initial, and it became an asemic poem. Still though she was there in it with me. She was a checkout clerk at my grocery store and shooting the shit with her after teaching before walking in my front door softened by day a bit.

Then she was my student and we talked some more. Poems, ups and downs, ways to stay more steady through ups & downs. I hoped so, for her.

You want to save all of them. And you can’t and you shouldn’t try – you’d just become annoying. I did that not long ago, trying to save, not the one in front of me, but the one who’d gone.

The poem’s a picture of the face-to-face A. had inside and almost every time she won. I made the ground before I’d met her but it doesn’t matter. Hell only feels private.

 

Inanna, reddening

Inanna, asemic, found her way to colour.


From the great Above

Red b/c she one, bleeds and two, draws blood. The source text –

From the great Above
she opened her ear
to the great Below.

From the great Above
the goddess opened
her ear to the
great Below.

From the great Above
Inanna opened her
ear to the great
Below.

And, aleatory gift, at the bottom my colophon and spun from the word below, the goddess recumbent – a bullet or some such flung from her brain.

Glyph