Lyre is a collection of poems that attempts to translate more-than-human worlds into different kinds of poetry. As much as my encounter with each animal, plant, and landform produced differences of syntax and vocabulary across the poems, I also wanted to allow the subject to unsettle poetic form itself. In other words, it wasn’t enough just to describe the different worlds or unwelten of these different beings; as nonhuman lives were being translated into human poetry, human poetry also needed to undergo some kind of translation into something else.
T.1 The poem is ontologically dissevering: necessarily fragmenting and fragmentary.
T.2 Holding concretized, readymade “significance” and “value” in abeyance, the poem functions as a catch, an apparatus used to observe the manifestations and codeterminations of entangling and unfurling world(s).
T.3 So as to render inoperative those ossified subject-configurations most exploitable by market vampirism, the poem tears back the veil of the “real” (where flesh meets fluorescence: body/world) to point to the rachitic frame-structure bolstering becoming.
In order to celebrate the conclusion of “Prolegomena to (Any Future) Process Poetics,” I’d like to provide a postscript that distills the central concerns of these twelve dense riffs into a series of pointed propositions. The following twenty theses comprise the core of this thinking and will act (I hope) as a lens for future rereading. Thank you, dear readers, for engaging with/in this work.
As uninvited interlocutors, other creatures have long been writing their way into the metabolic conversations of human life. As vectors for various parasites and viruses, mosquitoes, for example, have exerted considerable pressure on human evolutionary and cultural history. They have killed approximately half of the humans who have ever lived, Timothy C. Winegard points out in his book detailing, among other things, the cascading connections between the mosquito and the rise and fall of the Roman Empire, the transatlantic slave trade, the spread of Christianity, and the development of modern democracy. Beyond the consequential molecular inscriptions of an insect bite, however, how has the metabolism of other creatures informed conceptualizations and approaches to writing itself? How have writers worked with the metabolizing bodies of other creatures, inviting them to participate in imagining new forms of kinship and sustainable relationships with place and multispecies community?
As uninvited interlocutors, other creatures have long been writing their way into the metabolic conversations of human life. As vectors for various parasites and viruses, mosquitoes, for example, have exerted considerable pressure on human evolutionary and cultural history. They have killed approximately half of the humans who have ever lived, Timothy C.
In her meditation, poet Mina Loy turns to multiple arts and genres to explain a process of osmosis as poetry. From utilizing words like “bewitched” to describing “music made of visual thought” and ideas “as sound,” Loy translates poetry into other forms of the imagination in order to define it.
Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea. — Mina Loy