No Longer Writes for Humans
2012/05/02 § Leave a comment
Yesterday I said “writers may create new styles when they break with tradition, but it is readers who maintain the formats writers are allowed to use. True experimentation occurs when readers notice and try something new.“
Today I read Poetry on the Brink Reinventing the Lyric, which opens with comments on the dull well-crafted poem’s dominance, where there are gazillions of poets reading and writing but in doing so create an extraordinary uniformity.
These two points are a similar notice. The review then goes on to tear at the editorial decisions of two poetry anthologies on American poetry Rita Dove’s Penguin Anthology of 20th Century American Poetry (2011) and American Hybrid: A Norton Anthology of Contemporary Poetry (2009) editors, Cole Swensen and David St. John. Editing an anthology is a special type of reading, it is a form of curating a collection. The review interrogates the decisions those editors made.
So perhaps yesterday’s computer analysis on style provides an answer to those queries.
Don’t write for posterity, don’t write because you’re a creative, don’t write for yourself, above all don’t write for readers.
Computer analysis is the only reader to write for now, the field is too large for any human, or team of human editors.
This is why I have used the by-line, the catch-phrase, “No Longer Writes for Humans” for some years now.
Of course while sculpting recently I’ve (re-)discovered Conceptual Art and found the same Mannerist uniformity there despite the multitudes of media and form and gazillions of artists. ( I am an old failed Language Poet era newbie, at least my stuff was seen to have stuff in common with some American group I had never heard off when I was 20 or so—– so the over-weaning affinities between Conceptual Art and Language Poetry are obvious.)
The inference is that I must be making art and sculpture for computers too. Only they will have the capacity to view it all and not be uniformed by it, they are the ultimate collectors, the perfect hoarder is digital, and it is the collectors, the readers who define the market.