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
there are cons
there are cons
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:
“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
Hardly a wave to the eye. But a wave it was and more’s to come.
The project I’m hot at work on now, InannaScient, 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.
Here’s the prefatory note I coughed up this afternoon to the project.
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.
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
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,
which I hope suggests a face to more than pareidoliac me. From there it wasn’t far to this diplomatic transcript –
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.
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.
Recently had a breakthrough with Dumuzi. Realized the embedded chapbook telling Inanna’s story – descent to the underworld and return here – had to bust out and become a freestanding being. So I’ve been at work on that …
But, in a funk these last couple of days. So instead of making poems I’ve been updating web pages. Vanity 1 art 0. Here’s some new stuff I wrote about the goddess project, now called Inanna Scient, because her undertaking all is to know.
Goddess Inanna, Queen of Heaven and Earth, Devastatrix of the Lands. Her story cuts through Dumuzi’s at every point at a right angle. I thought she was part of his book, but just now she broke out to become her own text – electronic and multi-modal, I think. The first panel:
I know the text sounds crude. The source is way pre-Christian, open to sacred profanity, in ways post-Christian we, split between prudery and porn, can but long for.
I’d like, if I can learn the right software, for the image to be multiply responsive to a touch (tablet) or mouse-over (computer). Brush the aasemic text and a voice reads it to you. Poke a demon and a crow barks. Stroke a barcode and rain in the trees. The next panel:
I imagine the text as a “posthuman hymn.” We’ve created, if not artificial, then unnatural intelligence, and outsourced a good chunk of our thinking to it – our sorting and analyzing, our remembering and feeling. The nets we’ve trained in these human works are clunky at it but quickly getting better. By now the images of us they reflect back to us are coloured by notes not our own. It’s that uncanniness I’m after.
Inanna Scient imagines what it is to be our thoughts in exile from us. Informed by our fears and longings, drawn out of our bodies, made remote to us as data. Inanna and her faithful friend (Ninshubur) are those codes the P.O. prints on our mail to sort it. The backgrounds are security envelope linings. The blocky little creatures, galla from the kur, underworld demons, are postal meter codes blown way up.
Mail because commerce. Inanna and Dumuzi are grain deities, and from the roots of the grain springs trade, flowers writing, spread cities, all our gorgeous disasters.