When I think of Incubation A Space for Monsters, I think of the form of the list, and how Kapil has transplanted this form so common to poetry into the form of the novel.
We think through lists, live them, annotate and move through time non-sequentially as we insert our prerogatives into lists. With each iteration on a list, as we enact it, who do we become?
“The secret pleasure of refusing to live like a normal person in a dress/with a sex drive and fingers/dreamy yet stabilized in the café of languages” .
Incubation A Space for Monsters, is a book akin to movement as a form of identity. The movement is many-directional. A character, Laloo, is literally moving. She is in transit via hitchhiking, which means in a sense that she has no idea which direction she will move. Her body is spliced, part “monster” part “baby” part “cyborg” part “dream.” She is moving in the direction of female identity, an identity between borders, between safety and risk, between any fixed notion of intimacy and the question — how to be a person intact?
The “Age of Spiritual Machines” guy, Ray Kurzweil, came to Philadelphia three years after that book had come out and gave a talk to the otherwise dull two-day conference sponsored by the United States Patent and Trademark Office. Kurzweil is never dull, though. Even a routine account of his presence at that 2003 confab published in the Philadelphia Inquirer suggests the sort of things — e.g. machines that wrote poems — this always-ahead-of-his-time fellow had in mind. “Our biological thinking is fixed. But our nonbiological thinking will grow exponentially.”