Poems
2026
Spring Prospect (by 杜甫)
The state is destroyed; the mountains remain;
The city in spring is deep in the weeds.
In these times even the flowers wear tears;
Bereft, even birds can startle the heart.
The beacons have burned three months at a stretch;
A letter from home’s worth thousands in gold.
I scratch my white hair; it’s thinner each time
and soon will not hold my state hairpin at all.
Realm falls; hills unmoved.
Grass buries the old.
Grieving, flowers weep;
birdsong, overbold.
Signals flare for months;
word from home is gold!
My white hair, scratched thin,
grows too sparse to hold.
Realm wrecked; earth stands.
Town overgrown.
Hard times; blooms cry.
Birds startle me.
Signals burn on;
letters are gold!
White hair worn thin
won’t hold a pin.
No state, land.
Town wilding.
Flowers, tears;
Birds startle.
Alarms blare;
Gold for words.
Worried hair
holds no pin.
State; hills.
Green ruins.
Blooms sting.
Birds fright.
War: months.
Words: gold.
Hair thins.
No hold.
2025
I’m gonna sell stuff (by Betti Alver)
Beyond the window something comes, a shadow on the ceiling, gone.
Constantly the kettle hums, but our pan’s got no pancakes on.
The drummer wind, as it rages, marshals branches from the avenue.
My belly’s been empty for ages. And the rain speaks Latin, too.
Mum won’t turn or look over, won’t clatter the cupboard catch:
Too busy cutting up a leftover boot to make me some shoes in a batch.
My father’s reading news of Africa, then
bout Rothschild’s views and the King of Angels (amen).
Go mad or go grey makes no matter: your wage won’t see you through.
As I thin the prices grow fatter. In Turkey the earth’s shaking too.
You order the paper and look – gossip and slander!
The bigguns have their big boots. I’d rather stay small and meander.
Everyone’s off to town and town. City things all the rage.
Guess I too could settle down in sales for a Leihberg wage.
I’ll sell em flour and rice in sackfuls, sell gloves and sell hats and sell nuts,
sell almonds and raisins by backhoe — haphazard and heapwise in gluts!
Sell socks sell boots sell shawls, and saucepans for soups and for sauces,
sell mouth-organs, pearls, and balls, herds of cardboard horses!
I’ll sell ya whatever alights your eye, sell spiced cake with sugar and honey,
Half-off — all off — forever my guy, use fallen leaves for the money!
Who wipes away sweat? Gets soap on the spot;
Who sighing buys sprats? Gets herrings by lot.
Whose skirt is in tatters, or sleeve tarred with grime? –
Fear not such matters: our cloth shelf’s sublime –
Look here over yonder! Here’s duckcloth and tulle, chop-chop
Let the goods wander: let the goods dance to the shop-counter hop!
Then Mister Leihberg, hearty, will come and thank us like a man!… Perhaps.
Come, friends, to the shop party! Surely come! See yas chaps!
2024
Written on the rock on the road to Boshan (by 辛棄疾)
When I was young and didn’t know sorrow
I loved to scale the roofs
Yes, I scaled the roofs
To compose new verses I feigned my woe.
Now I understand sorrow’s flavour
I hold back the words
Yes, I hold back the words
Instead: ‘nice autumn weather today’.
(to the tune of ‘Ugly Slave’. original, c. 1180)
Reverie (by 李清照)
I always remember sunset at the river pavilion, so fun-drunk I couldn’t find the way back.
Contented, I rowed back tardy, lost in the thick of the lotus.
I row, and row, and startle a wave of herons.
(original. Joint work with Yiwa Xie.)
Hunting in Mizhou (by 苏轼)
I am old and reviving my youthful madness.
Yellow hound on my left and hawk on my right.
With splendid hat and sable coat I ride the plains with my thousand riders.
To repay the city’s honouring me, I shoot tigers in the style of General Sun.
My stomach full of wine: my chest full of courage.
My temples are frosted grey? – so what!
Will the imperial seal never summon me to my potential?
I will draw a carved bow. Full as the moon. Look northwest. Shoot down Sirius.
(to the tune of ‘Jiangchengzi’. original; thanks to Yiwa Xie for assistance)
2023
botany and ultimate reality
Selection pressures we don’t really understand led the deerhorn clarkia to have strangely oblong pollen This increased its fitness for the task of “Robert Brown picking it”
Bachelier modelled the process thus called Brownian; with some probability, Einstein read that; Wiener read that that; Itô read that that that.
The stochastic calculus was made in the middle of the war. It describes all random events. that is, it describes.

2022
self portrait
How did I get here?
Got out the cave quite easily
- actually a lot of people leave the cave. that whole rebel “cave sucks!!” phase. but it’s cold out so you think better. but right outside is a door you can’t push open.
I realised that radicalism does nothing I realised that bureaucracy does nothing I realised that government is bureaucracy I was treated unjustly by social justice and made to not imagine i have no enemies
- I realised that books are small and art is small and secondary and phantomish I realised that there is a way out of the cage of philosophy I realised that science too does almost nothing
Why so hard to work on what I should?
Of course it hurts! I am giving birth
as well as lifting the object I am also carrying myself on my back
What am I?
I am not a grounder, a tower builder, an explorer, an astronaut, a rotator I am a - sprinter - thought experimentalist - association engine - mascot - expositor - ladderman. dragging the ladder down for others - curator - eddington. thresher. searcher. finder.
todo
2019
Hello! (from The Blog of Medyud)
Hello! My name is weird-sun-stan
And I would like to share with you
The most amazing blog
Hello! My name is creeping_doubt
It’s a book about the human brain
Since a long time ago.
It has so many awesome parts
You simply won’t believe how much this blog can change your life…
This book gives you the secret to eternal life!
It has a lot of information you can really use!
HELLO would you like to change epistemics I have a free book written by SOME GUY!
2017
fancy
My nation is a dress uniform, like all nations. Distinctive, colourful, old, mass-produced. Six sizes too big. If I wear it I am legible to you, you I haven’t met. It veils me when I meet you and don’t want to be met by you. It lives in the cupboard (I don’t have to meet many people).
It’s usually nice to own it - something to don when surrounded by notional barbarians, to set myself apart in my different barbarism.
Though often people point to it, saying that I am my frock coat, or that I’m wearing my frock coat when I’m not wearing it. This isn’t fun, as no forced game is fun. At least my coat isn’t caked in shit and blood, like yours. (Like all coats, it is caked in shit and blood, but at least mine isn’t on the outside.)
Like all regiments, my regiment thinks it is special: not many people have these coats. But wearing any coat makes you less rare: you leave your kingdom singly for a low foothold on Leviathan.
No one will spit on my coat, unlike yours. It is humble and demotic. The regiment’s crimes were quiet, or loud with none left to say.
Frock coats are new. There are no frock coats, we just pretend we’re wearing frock coats to humour each other. It is cold without them. But it it wouldn’t be, if you stood like so before yours, as it burned. Say, can you see?
thole thule
Pale rulered ceiling low.
The fog a second sky at ten paces.
Your breath a third foglet.
You’d harshly review a film ending
among sic a cloud chamber melodrama,
lazy with climatic ellipsis.
Away, you forget endmost
Grampian, the uniformity and the wall-eyed mist.
Back, grey cries for colour: quayside tattoos,
neon dye, Jäger. Colour isn’t given.
Nae thermo, nae sae dynamic. (Ootside onywauy.)
Fowk thole the grey reef lang enou,
puddle in the sea, hoovering
at livid cracks in the macroeconomy.
Abdy oxidates, no white-het but blue.
A’hin blurs. A’hin levels.
A’hin mixes. A’hin cools.
incentive compatibility
We live together: you dislike mess more than cleaning; I dislike cleaning more than mess. Mess happens: obligate social grooming rears a silent scowling face.
A current account runs to deficit: cogwheels backlash. I could offer you money for doing my part, if I was stupid; or if you were a different species. As you are this is a grave insult: cleaning you undertake yourself is home-making, comfort behaviour, preening, an act conceived in freedom and ease. Receiving money for it makes you a cleaner: low-status. Offering money called you low status: I signalled wealth, dominance. Negotiations sour: you don’t hear my offer instead to cook, or do the bins. But we are grown men; there must be a solution.
Yes: I skip the lease under cover of night, free-riding the axle of a Scania bound for the orient. In the morning: notes stuffed under your door.
to be led out
You start to learn something. You don’t know what to google. You don’t know the luminaries.
You don’t know what are stupid questions. You don’t know which are the good books, and they are all £90. You might not know a good book when you saw it, except that it seems to make sense to you, where others are demeaning slammed doors. You don’t know enough to just get started and incrementally improve at any rate at all.
Education is artificial enclosures and screens on this terrifying commons: ignore those cliffs, forget that vertiginous sky, stay in here, you will be safe to get strong, here is a nice story. StackExchange is a chain of lifeboats on the open sea of research, vanishing to the horizon.
Most educated people never leave the enclosures, and mistake the limits of the curriculum for the limits of the world. (In this way, it’s possible that the American general education philosophy - so admirable, so civic - could narrow minds.) In economics this “101ism” is particularly pernicious, since even honest specialists, those operating well beyond the screen, can’t communicate their technical results to the media, so almost all discourse takes place inside the fake, narrow enclosure, with endless fruitless illiberal results.
In fields where it’s impossible to know if you have gone astray - everything except the formal sciences - the work feels nicer but is sadder, considered on a proper timescale, of centuries. There it is almost inevitable that lives will be ploughed into the soil and merge with the stream of decomposing misguided theses. In the formal sciences this is only very likely.
Ode to Experian, Equifax, Epsilon, Acxiom, Rapleaf, Phorm, Cambridge Analytica, and Palantir
sun the sky. your points held out
to any who care to spend a penny
upon your little perch upon the cloud.
everything said already.
but no one heard. it will be held down now,
in index and coin roll, come again.
someone is watching. I am found
and weighed and found to be
several hundred out of NaN. Merchantable!
at least someone is watching.
Past a long lack, we know
There is a market of authorities
Seeking you desperately
knowing you more or less than you,
ought you be flattered really
omni-nothing, never-knowing, precarious
despite their M3 millions, e-score milliards
and what exa-peta-points of you they could snap.
See they are big brother, but dead at fourteen
of gaucheness and ick hubris. someone at least is telling
something to be watching, and that is as good as it gets.
2016
uluburun
I. Loss versus disposal versus deposition
from the common [Bronze Age] man’s perspective, the Uluburun
shipment would be hard to imagine: a thousand years of salary...
– Christopher Monroe
Not not betrayed. Not not pirated.
Not not sunk. Not not turned to air.
Not the luxury of meaninglessness.
Nothing the cape. Nothing will be said.
All rare things holy
But we were these things.
Never mind his lordship.
Hundreds of talents.
No reason for thousands of years nor then.
you internationalist canoe.
Gold over glass over tin over fist.
Ugarit. Enkomi. Nefertiti.
This shares properties with me, so it is good. That has properties beyond my properties, so it is good.
II. Commerce versus gift versus tribute
The collapse of Bronze Age civilization in about 1200 BC, just
one century after the Uluburun wreck, happened with surprising swiftness.
Within fifty years, multiple kingdoms and empires crumbled.
– James Rickards
My documents
Fact into law
Sand into glass
Object embody categories for people. How does material exchange occur across value systems?
- Either not much variation on the key things, because of common survival imperative (bounded cultural variation)
- Or fundamentally because no trade occurs between value systems, even on the individual to individual; it occurs where I value your thing more than my thing and vice versa.
So much can only be homage or ransom
or a dowry for all of your women.
III. Raw versus intermediate versus finished
IV. Whole versus scraps
V. Icon versus tool
...Go quickly,
examine the hoard under the grey stone,
dear Wiglaf, now the wyrm lies dead -
sleeping sorely, deprived of treasure.
Make haste, that I the ancient wealth,
the possession of gold might perceive, and readily behold
sparkling clever gems, that I can more pleasantly
for treasure leave my
life and nation, that long I ruled.
– Beowulf
Far from the trees - far yet from the town -
Bizarrely successful tall mammals rained down.
A puckle of palaces, a legion of pigs
Culture: banana, pointing at figs.
Destroying a sacred object destroys part of your identity.
A whole town’s GDP, lost. That is not the term to use to get you to care: the whole harvest, a large chunk of your life’s work, your children’s bellies. Everyone you know ruined for life.
Where to? First contact?
“we know a lot more now about some people we still know very little about”
generally
the only beautiful object, event, or abstraction
of any kind within shooting distance of Riga airport
is the spew of a squat smokestack,
a pure grey stream of hot sideshow.
parthenogenetic and progeroid.
a boiled definition, lit to make
many monochromes wash out,
a collective paling, lines breaking, becoming
the static milk-blue back of this, a winter.
beside it snow is mute. clouds don’t intrude.
and I could study this! Really; not by eye
or for mere art. Given the itch persisting
I might spend a week with the profound and careful dead.
the vapour painting has a million twins running
the selfsame script of physical law, probably known;
on average each twin seen truly.
we found out the world without us. made it reel.
what’s written in the flames underneath
chokes mutely. my stoichiometrist mate
can code its dead language in a trice.
it solves for seven unknowns, but can be given
in the eternal manner since Boyle or Navier-Stokes
who solved mysteries you would have been satisfied with
– are satisfied with, since ignorant amidst free knowledge -
which mysteries I am seen enjoying in the first two stanzas.
macro effects ongoing on the frontage, temperature and health
of Riga etc are knowable but not known and not soon.
Dark guesses nailed on the door. The models lift off, freed from obvious
falsehood by tiny effects in giant interactions
so we think what we happily will.
the present effect - one unit of pleasure and motive
in a youngish half-educated traveller - is known, shakily, in principle,
from parts outside: sparkling in my C fibres or Hebbian knots or GABA wheels.
even the heart may be knowable
given much stronger light.
in the absence of peak oil, the absence of monkey-wrenchers,
in the presence of the deep absence
that airports consist in, a cloud factory churns.
it ignores my head, dipped in notebook; ignores the folly and doom
symbolism people give it; ignores everything except pressures, gravities, van der Waals
and future soon.
2015
the problem with other minds
I don’t know what you’re thinking, of course. Some people make much of this; all our thousands of languages are supposed to be bridges, however rickety and thin; half of all real and imagined tragedies turn on miscommunication; a large branch of world philosophy obsesses over the Angst of Being and the distant Other, incomprehensible, deep and sad.
The harsh light of Sturgeon’s law is a great comfort here, since it implies we aren’t missing much. ‘It’s no tragedy I am deaf by default if the world comprises mostly noise. Essential solitude is just a grander version of not having Twitter.’
But also that, were humanity better than it is - more thoughtful, more caring, more original, funnier - the situation would be more tragic. Because the feeling I have of missing out on you all would be, well, justified.
parabola not slide
What? Seest thou not how that the yeare as representing playne
The age of man, departes itself in quarters fowre? First bayne
And tender in the spring it is, even like a sucking babe.
...Then followeth Harvest when the heate of youth growes sumwhat cold,
Rype, meeld, disposed meane betwixt a yoongman and an old,
And sumwhat sprent with grayish heare. Then ugly winter last
Like age steales on with trembling steppes, all bald, or overcast
With shirle thinne heare as whyght as snowe. Our bodies also ay
Doo alter still from tyme to tyme, and never stand at stay.
Wee shall not bee the same wee were today or yisterday.
– Ovid
Winter is first. This is calendrical,
not the petty grandiosity of life as year.
Sulk sees life spring downward. The Gregorian
or astronomical fact is a compartment.
No one will have you heed it.
But childhood is a winter.
Moral desert, intellectual negligibility,
contagious illiberty, ruin of stores.
Our minds alter and fly once thawed.
No, we will not be as we were! thank god.
“To sing in green” by Hugo von Hofmannsthal
I
Didn’t you hear, in here,
How music prowled the house?
The night was hard and lightless
But out there on a stiff stone
larking – that was me.
I said all I could:
“Dear, you’re everything to me!”
But the east shoved out new light
and the harsh day drove me home.
My mouth was shut again.
II
Under a murky weighted sky
So lonely we were,
Cleaved from the other!
But no more:
The air blows free and fro;
And the whole world inamidst us
Shines as if glass.
The stars arose, were
Shown shimmering on us,
And even they knew:
So strong and stronger their splendour
That we sighed,
Lay blissful, captured
by other’s touch.
III
My beloved spoke: “I’ll not block you;
You owe me nothing.
Folk should not be kept –
They weren’t born to trust so.
Hit the road, my friend,
Behold land upon land
Try out many beds
Take many women by the hand.
If a wine’s too sour for you,
Go drink Malvasia –
But if my mouth is sweeter,
Only then come to me!”
wait in room
Buro meets ochlo
and neither yields; instead
there’s a steady faceplant meld
of rule with weeping exception.
Christ. Reach me a nothing,
save me a stay!
If you are given pause — if
you give me a bed larger than I need
and heed the answer retrodicted —
you will brush the wrecks of timetables from me,
wash my shoulders of lead,
and see in me hot and fragile seas.
To leave me ungeneralised.
Rain Clearance by Dù Fǔ
for Qiu Ji
Sky emptied, the autumn cloud thins;
A west wind spans a myriad fields.
The morning scene is good — cleared:
Long rain has left us land.
Tight willows show sparse green,
Uphill, pears are flowering red.
Upstairs, a reed pipe plays;
One goose rises in plain air.
雨晴 (一作秋霽)
天水秋雲薄
從西萬里風
今朝好晴景
久雨不妨農
塞柳行疏翠
山梨結小紅
胡笳樓上發
一雁入高空
杜甫 (758 CE)
2014
quondam
a world where no such road will run
From you to me
To watch that world come up like a cold sun,
Rewarding others, is my liberty.
– Larkin
Who can’t see autumn coming?
Come cloudburst, who falls in?
Whose victories are numbing?
What was; where have I been?
What is, I don’t get out much:
am unemployed on call
since the sky hitched up its moving-parts
and bolted through the wall.
I who can’t hear for my own hum,
the undone product less than sum,
the dolt in longing for The Femme –
what reason could there be?
Charges: blind to dimming ardour,
Trying badly, missing harder
Last resort hint chance discarder –
I would not blame you me.
What was was shock superfluity.
What was is repossessed.
None own their shares in earthly beauty.
Make do. Lie; “s’for the best”.
english
wandering in extremis of your
rambling curtilage, I stumble over
miles, miles of dull ramparts. Not yours;
this is your siege, an élite ignored
critique, a cottage industry of line-toers
dressing a dead man down. Or,
no not dead but petrefacted: a door
closed but leaking light & snores
enough for one interpretation more.
create table person
CREATE TABLE person (
name TEXT,
age INTEGER,
portfolio INTEGER, PRIMARY KEY
market_position CONTINUUM {buffett - lumpen}
ascribed_gender BINARY {"M"/"F"},
gender_identity FREETEXT,
ascribed_ethnicity UNFREETEXT,
ethnic_identity UNFREETEXT,
extraversion CONTINUUM
openness CONTINUUM
conscientiousness CONTINUUM
agreeableness CONTINUUM
neuroticism CONTINUUM e.g.
- spiders
- dentist
- gays
- people
thriftiness CONTINUUM {"cheapass"-""}
disability CONTINUUM
(debilitating-borderline, visible-invisible, legitimated-not
privilege INTEGER. NEG INTEGER in Context:{Left-wing},
professed_likes {Giorgio_Agamben, Merzbow & social_justice}
likes {Ken_Follett, Cyndi_Lauper & steak}
knowledge COMBINATORIAL, f(memory, scepticism, creativity)
credentials YEARS_EDUCATION,
rationality PROB,
relation_w_god LIKERT,
morals CAT {Y/N/Quasi-realism},
politics PARTITION {IF L then spurn, IF R then belittle}
remaining_lifespan CONSTANT (not_long_enough)
);
[SELECTED “person” RELATIONS]
WHERE credentials < knowledge, file under "Ignored".
WHERE credentials > knowledge, file under "Ponce".
WHERE knowledge >0.5 & relation_w_god >3, file person under "Pain".
WHERE politics = N/A, file under "conservative".
WHERE st.dev(politics) high, scale up amount of world denied & rejected.
WHERE ascribed_gender =/= gender_identity, file under "Pain" (IF ascribed=PRIMARY KEY).
WHERE ascribed_gender =F, create column "ascribed_rationality" (= 0.5 x rationality).
WHERE ascribed_gender =M & height >mean height, scale up market_position.
WHERE body_police is untriggered, scale up market_position.
WHERE rationality high, scale down phobias.
WHERE rationality high, scale down precedence of default PRIMARY KEYS.
IF gender_identity=shrug, & ethnicity=uncorrelated, & body_policing=null, & bank_balance >=needs, & disability=destigmatised&optional, & phobias=null, & thriftiness=MAX & {morals, likes}=PRIMARY KEY, THEN you are dreaming;
quit;
run;
2013
Firebrand
So He drove out the man; and He placed at the east of Eden…
a flaming sword which turned every way,
to keep the way of the tree of life.
– Genesis 3:24
there’s something wrong with everything
in this post-lapsarian land.
standing east of what he thinks is eden
stands the fire brand.
ward me, terrible agent;
stop up our eden’s ears,
justice itself, flame-left-long,
withstand lyrical jeers.
no anchor put to windward
no philosophy onstage;
many men, falling foully,
all phonelines engaged.
Consider the Menshevik; recall the wet,
Ta Thu Thau the Girondin,
dispensed-with, soon-null sets.
so too next time, I bet.
suffer little parentheses
Developed in isolation writing suffers. also in
too much feedback;
poor diet; sheltered life;
traumatic life;
not reading;
reading too much;
economic deprivation;
political empowerment;
aesthetic distance;
single-minded passion,
and so on so fragile,
so rarely good.
Mnemonic for Kahneman’s Three Divisions of the Mind
Otto’s secret author of
much of what you think;
Connie cannot rouse herself
unless he’s on the blink.
Econ’s cold and maximal
a lucid heart of glass;
Zappa’s contradictory,
inconstant, foiling Nash.
Remmy is deluded, or,
creative with the past;
Esper suffers greater thus
and flies off, Otto-fast.
Peter Singer
Speak now of the soul’s ratchets and the stirred Stakhanovite silt
of the bed of this generation. of pitiless benevolence.
Ratchet, reason; ratchet, ruck;
Progress slow through dry valleys, slow as
Fate; despicably kind. vegan cynic,
now shame meagre wealth,
Now balk at cost of consistency
now strike, wages of sin;
Now maximise like fatcat
now route cold virtue road;
Now niggle, now coin
now manumit the tenderloin;
Now not sit still
to tunes ignored.
Union Terrace Gardens #2
Three teens unshaded sodden
in brief brilliance
crane at youtube’s tinny cauldron
– brighter, greener, bustier
than the park reprieved.
Fair enough spillover
living public living room;
I crane at miserable book
– drabber, greyer than park concrète –
and, supposedly, at world to come.
no: dyce
Walking hard shoulders toward my early town through dew, fog, find a white cd-r in the carriageway grass. Thrown from a car. Rain-stained, smeary Saucerful of Secrets. ‘That’s fucking enough.’
employ
Speak unfree, acquiesce to excellence;
artifice a quarter of your short time; disown time;
foreclose all weeks;
existential deodorant, and woe betide
who sweats out loud.
cleaved in two at one end - tool by day, stub by night;
out of history in circular gyre;
divest, discharge, weekend;
leave style at threshold, dream at car-door:
make it matter.
NaPoWriMo 2013 (one poem per day)
as per
writing,
as per usual, of journeys, remembrance, death, love
stars, blood, soul. on you go again.
these
the whole of your poetry
a corner of the real potential world.
advances?
Whitman’s prancing, Breton’s vomit,
Ginsberg’s pissy apocalypse?
collapse
severed prose for lazy ponces
selected razors for slight minds.
poems
are allergic living. Write about normality all you like
it’s no realer for the description.
gaze
word-wrapping repels ordinariness,
negates as it affirms.
glory
in ordinary life – more than I can manage.
I’m not strong enough to be happy with just sense.
rancour
I am the offending article.
So redescribed, transmuted,
I haunt, heedless, automatic, unfeeling.
My actions are oppressive.
The memory of my actions is oppressive.
My gaze is oppressive.
The idea of my gaze is oppressive.
My existing oppresses.
My longevity promises to.
I am deep in debt and they do not
make my currency anymore.
So I sing, must thus roll.
demon denominalisations, or, the vicious verbing
Suddenly monied,
we got pilled-up:
He necked them all
so I kneed him.
Newly enemied, he knifed me;
Newly knifed, he was unfriended.
He gunned me for my demogoguing;
I gerrymandered his face.
Entreating, he sexted sexily
(I pencilled it in).
We dialogued long, drank our dranks,
youtubed the workshopped process.
Newly employed by shady intelligencers
We actioned when ordered.
Renditioneering, they quickly
signatured what we told them to signature.
We will all nuke together we we nuke.
It will impact you but not for long.
study in usb sticks lost at my workplace 6
Black telescopic macho toy, 4GB:
Primary school lesson plans, LGBT materials, and Beyoncé’s discography.
Cartoon flowers on white, 512MB:
A man’s CV in Czech, alone.
Sleek redblack, no bigger than it ought to be, 8GB:
I ate your children - and what’s more they are happier now.
Clearplastic ‘Silicon Power’, 1GB
Passworded; not for you. Filenames evoke the particular banality of Property work.
Green squidgy Chibi with a thin white extending tongue, 2GB:
Work on the Anammox bacteria disguised as denitrifiers, nitrate reduction to dinitrogen gas via nitrite and ammonium.
Massive 90s red plastic, 32MB:
Tab for Maggie May and Ticket to Ride. Beginner’s German materials.
Turqoise switchblade, “0.5GB”:
Esoteric file formats: Jar files. LSTs, IVSs, .gzs. I draw blanks, no association.
Plastiglass Sleek: ‘ANTIVIRUS’, 4GB:
Top Gun.mp4, a resignation letter, a rant about the ex-employer in question in Estonian.
Sleek redblack again:
Sports “science”. An e-book called ‘Strength and Power’.
Bright blue telecscopic macho toy, 4GB:
Protocols for programming a PDP. The cleaning rota at Topman.
Just the naked circuit with the jack of all bus jacks, 512MB:
DaemonTools up to no good. Brazilian and Portuguese passports, Saudi visa. The smell of money.
Gaffa tape and hope, DEADFORMAT NOSTALGIA, 1GB:
The menu of a competitor.
Chunky black, more a train rotator than a switch, 1GB:
“Biletas i Glazga.” Torrent of the last Arctic Monkeys. Laddish photos from Tenerife.
Amber switchblade with epileptic blue LED, 2GB:
Papers on the role of calcium in the brain.
Needlessly elaborate hinge-and-cap, 4GB:
Eurocopter blueprints.
White ergonomics, 1GB:
Years of boarding passes and three Spanish arthouse films.
Black stanleyknife ‘Sony’, 16GB:
A price list of obscure rock albums. Four pictures of Toby jugs.
Greyblue maxell with her redlight on, 8GB:
The complete David Attenborough’s Life Stories.
Decrepit tech. Black and silver a lá 2000AD, 128MB:
Empty.
Transparentred, circuitous, 2GB:
Signed landlord documents and one soft porn film of 50mins.
Switchblade in chrome, from a roustabout, 4GB:
Powerpoints on advanced actuarial maths and a boarding pass to the Caribbean.
Switchblade in chrome, 2GB:
Technical documents in Polish. Hans Zimmer’s True Romance OST.
works whose titles are their conclusions
Rosencrantz and Guildenstern Are Dead.
The Importance of Being Earnest.
My Stepmother is an Alien.
Irréversible.
The Only Necessity is Verbal Necessity.
We Wish to Inform You that Tomorrow We Will Be Killed with Our Families.
What Matters Most Is How Well You Walk Through the Fire.
Lord I Just Can’t Keep from Crying.
Every headline.
Everything is Illuminated.
La vita é bella.
Things Fall Apart.
works whose titles are their conclusions and are false
All Quiet on the Western Front
God’s Gonna Cut You Down.
I Will Always Love You.
I Will Survive.
heave me away with light iron
Sometimes I say I love irony,
though he’d call me a poof if he overheard.
I suppose I should not love him.
But he’s more than a sarky sneer at our soft places:
he is the hope of other minds,
Pyrrho in a harness put out to till the fields.
Bewilder me, world, unseat and unsex,
lead me through cognitive forests with two clearings only:
sweet ironism or pure reason.
In the end I cannot dissolve.
The power now vested is worse vested elsewhere.
Strong admiration of irony is my distance from his distance.
inter faeces et urinam nascimur
On entering The Academy mall, Belmont Street, Aberdeen.
stink a shite in thi shopn sintr thi day
(place isna taen thi piss)
so yis swither as yis come in: neb-struck, oocha.
cmoan! daunder through! dree the reek scoob!
Canna staun this aesthetic, sicht o naewhere
signifyin nithin, £90 jersey an $100 smirk.
noo. Abdy kens abdy shits!
I amna Grampian’s Metatron. Ma synthetic Scots is
the lyk of yir synthetic lifiness
aboot fit these folk ken naethin.
Onywoy. “Aming piss n shite wir born”;
aw thi money oot that sea winna buy off that.
Terroir and Milieu
The plant I am today is hard to know.
Nurtured in loam (over-watered,
water-warped, filled with inorganic ideation),
said loam was seminal, certainly.
No one may outrun their given rootstock,
though the young, pollen, uproot anyway,
try bootstrap our own wind, flee town on whatever copter sycamore.
I fend phylloxera, plumb-line roots into deep clay,
strain to stockpile auxin, to bud, fruit, ripen in one day;
branch against the dim light of my loam and chill of this tight clay -
that said, I present this grape.
2012
Poem inscribed on some Undies
[Right cup]
You are my wild orchids;
you were my deep confusion.
you soothe and, better, kill
the prude, the prig and puritan I am.
you dance though asleep,
off line in lieu.
[Left cup]
I bear the happy cross self-expression;
I welcome piercing - but shy from mother’s mind,
pert haptics & most people most times.
I fill finery because nothing
else makes sense, or rings out
so sweetly above the racket of time.
[Briefs]
I am what goes beneath,
closer to the middle
of an unpretending life -
and, in our instance,
closer even to the heart.
right in the thicket of it.
cheap mental health
my people are as they are because they shrink from
small sources of cheap mental health
available to things like us:
exercise, stupid art,
bold conjectures, pissing outside,
uppers, group affiliation,
coupling, writing about yourself,
laughter, early nights,
framing one’s pain as the small pain it is,
eating right, and embodying your morals.
(participation)
no man is a nation
I’d like to distinguish myself & Scotland. But can I?
Seems easy: he, Scotland, is thirty-thousand miles big
& likes oil, bankers, and distorting history;
I, Nemo, am a hundred percent nothing
& like sunlight, empiricism and meat-free things.
But I am belched forth from him,
filled with his faults and his smells I cannot smell,
and we both say we crave independence,
(though mine’s from Britain and Scotland both).
and thence fall into jobs that feed the bourgeois nation-state
We must laugh at our anger and still be angry.
– Carl Hancock Rux
Hey! hark at their coming, oi! quake at their bells:
it’s those buggering jobs that feed the Bourgeois Nation-State.
what dyou think you are doing! where do you think your work goes!
all clocked hours, all leisures feed the Bourgeois Nation-State.
it’ll eat all progression, use up your every ounce,
that repressively tolerant Bourgeois Nation-State.
profane your enjoyments, o racist roundabout;
orgiastic job creation for the Bourgeois Nation-State.
o resist them do deny them please, Buy Nothing and bite back,
say boo to all its agents and flash them your arsecrack;
o sweet cultural studies, o countercultural airs,
o student with that One Idea and intentions fair,
does your garden grow purely, organic, and innate?
does your ignored critique starve out the Bourgeois Nation-State?
having just graduated
having ‘just’ graduated I’m just
a ghoul on campus, a drunk who’s lost a bet, and
happy, though just
an upturned Transit just spinning its wheels through long air guitar miles.
see some other dregs, just
magnetic years giving structure to
the idle existentialist, the hopeless arriviste,
the butch mens sana, and I, tiny colossus.
each just a graduate, just
straining to hear a song just stopped,
in this bright young world entirely
unchanged by us.
Mzungu
What goes through you When you call me my race?
Not malice, I know, Not avarice mostly Not even always predication – leaving what?
“Mzungu!” joy of novelty
“Mzungu!” lay your voice on the outside world
“Mzungu!” to be seen by The Mzungu, distant source on earth of stuff.
I do not hear any of that
(pallards: thin-skinned)
I grimace at you, fight indifference
walk on.
the kabootar in flight
What lasts?
– not harmless cheek (the hidden key to grand toilets), by definition
– actual education (none here, 1000 kids given an inkling of an inkling) does, for a bit
– concussion (the price of adventure you paid for us) won’t, touch wood
– massage (a sudden kind thumb) rare and brief
no. what lasts is the harsh heat of family’s hand,
the undying vampire queen London, mathematics,
and sometimes the memory of friends,
the kabootar in flight.
[For Rohit Rajput]
Perth / Dundee
hard, dark and
hardly started
familiar
crap bus distorting our demesne
Perth? Dundee?
I should know but know you don’t know
frantic, the
yellow-spot-road, and vague places past it
note: ticket
includes each other on tap
but legroom
and peace aren’t included
we cargo
are silent, hummed and whined and shook from sleep
lesson: no
lesson, I just wanted you to know
who gradually wasn’t
First she lost her beepcard
(so beepdoors didn’t know her)
then she lost her licence
(the road no longer hers)
next she lost her passport
(was trapped inside one border)
and she lost her phone
(and distant friends went mute)
losing then the wallet
(goods and comfort blanked her)
she went and lost her cloud
(the past, what would’ve come)
then she lost her throat chords
(couldn’t invoke absent things)
her breasts and other jumbles
(she was proclaimed unsexed)
and last lost all her body
(so sat godlike, and vexed)
L’immobiliare
In Italy they call estate agents
immobilisers
and so they are,
wormed deep as they are
into the unspoken plan path
of almost everyone.
It is not mostly via vices
or secrets that they get us
but by our dreams.
critique
Come, please, do! I am open to critique!
Truth was my first wife!
(But queue yourselves,
and come slowly,
along my line of sight,
and wait for the nod,
and punch with your hand open,
on limbs that were anyway gangrenous
and do not leer.)
anti matters
A thing is a hole in a thing it is not.
– Carl Andre
hairdressers sell negative hair;
sculptors negate stone.
cleaners mess with mess,
prozzies try to siphon lust;
judge hurls negative freedom.
priest spits fear and negative fear.
killer, negative life,
musician, negative death.
that they
I see they’ve cloned a baby.
They’ve put ten mice on crack!
They know what causes rainfall now -
They’ve fixed your grandad’s back!
They’ll go too far if you ask me
They can’t control it all.
So while they fill up the TV
I’ll off await the fall.
la noune
but english has no good words for it –
and little love.
but I’m not bound by one set
in many settings.
and but you are unconcerned with good words,
don’t need ‘em.
so but between word and world I
but felt your heart beat through it
a night just then.
2011
weaponized
against nothingness we used bang.
against lifelessness we used rna.
against stasis we used predation.
against blind we used sense.
against neanderthals we used braining.
against darkness we used each other.
against peace we used questions.
against angst we used questions.
against boredom we used questions.
against impotence we used questions.
against arrogance we used questions.
against questions we used god and fire.
against hunger we use life.
against women we use themselves.
against happiness we use ideals.
against death we use soap.
against thought we use stuff.
against memory we use google.
speak sense
the time for talk is over:
the rising tide lifts all boats;
you can’t fight the tide,
you’re either with us or against us.
it takes one to know one;
he knows one,
so he was asking for it
no smoke without fire,
no fire without fuel
no fuel without sowing (you’ve made your bed now reap it.)
spare the rod and spoil the child;
fight fire with leopards
who won’t change their spots (though the tiger has a chance)
when in Rome do as I say not as I do
because I say so
you have too much time on your hands (out, damned tock, out!)
all’s fair in love and war,
no pain, no gain,
and the time for talk deemed over
anti-resume
Name: Not Clive James
Age: Missed most of the Twentieth Century
Address: Almost nowhere, really.
Nationality: Not a great deal. I don’t participate in Scottish culture, any more than I have to by merit of enculturation.
Languages: Can’t speak Gaelic, Spanish, Cornish, Saxon, nor…
Work: I’ve never had a full-time job.
Non-interests: Sport, war, Tarski, collecting anything, scale-modelling, surfing, bell-ringing, spelunking.
Education lapses:
Secondary: No economics, no philosophy, no gender, no business studies, no psychology, no politics, no French, no Chinese, no grammar (properly). I’m also quite bad at geography.
Tertiary: No law, no computing, no engineering, no geology, no medical, no pure maths.
I’ve surveyed no field - nor any phenomenon, physical, cultural, or other. I know nothing of Nussbaum, I am ignorant of Avenarius, I haven’t a clue about Conway. I’ve contributed nothing to either the mainstream nor dissenting schools of economic thought.
I’ve never read Hemingway, Goethe, Brookner, Isherwood - nor anything from the Harlem Renaissance (nor much of the Euro Renaissance) - nor Houellebecq, Duras, Vargos Llosa, Thackaray, Musil, Bainbridge, Naipaul, that Girl With the Dragon stuff, Zola, Behn, Updike, Wolfe, Richardson, Barth, Byatt, Bellow, Brecht, Kazantzakis, Paz - almost no Classical stuff - Smollett, Wharton, Trollope, Nin, neither Amis, Eco, Roth, Coetzee, Tóibín, no Christie or Hammett, nothing I could afterwards identify as “chicklit” (except Austen?) and, despite heroic efforts, I have not yet successfully climbed a Pynchon.
There are also a vast number of things I do not know that I don’t know about. (I imagine.)
References who don’t know me at all: Nassim Nicholas Taleb, Bruce Campbell, Johann Hari, Deirdre McCloskey, Abdul Fattah Younis al Abidi, John Worrall, Guo Qian, James Corden.
2010
Who Am I?
“It’s easy hatin yourself, it’s hard makin it rhyme”
I am the word made flesh (lowly CTAGCCGATCATT)
DNA is a candle and I am is so much
evaporating wax
I’m words and words are dancers
Flowing over their ink
Under their maybe-meanings.
I’ll never be there for anyone if I don’t
somehow stay still.
Everything anyone’s
Ever said about me
is true.
In my forced condescension, my needy generosity,
false modesty, false arrogance
“I gave my heart before I knew what it was”
organs it attached to.
Not informed of hands nor feet,
I shattered your fingers. It’ll happen.
I am a clenched fist in glass gloves,
an intellect insinuating; a missing accent.
I am a grasping heaving frowner;
the dissatisfied have always been on top,
we tutters, bleeders, wankers. What thinking!
I dance to a done tune.
You to an unwritten one.
booty
two drag a chest.
inside, treasure rotting.
each prickles within rights.
wonders if the other peeks.
wonders if they know they do.
neither escapes. one doesn’t want to.
they bear it. they’ve counted thirty paces.
dig new at two Xs.
WORDS I WOULD NOT OTHERWISE SAY
Disbelief makes me solemn;
you are a serious matter
I’ve no hope to solve.
(a paralysing sequent)
Your hands are absurdities
for they contradict my skin
and from them anything follows.
I can say the words but they’re
empty names, real but not realised.
The delight scalds me.
‘GLOBAL HUB’
Studiedly nothing
Smiling, we let our youth pass
And smiling did recline
Swivel chairs were not worth it
(Style over backbone by design).
There’s a gamut, too
– Superlunary or syndicalist
Or Cistercian or something -
Where the cordon between degrees
Bleeds through, and unity can be
Noted if not attained.
Mind-bags and little else,
We probe behind glass
(Everyone’s a scientist of their friends)
No need for much; a crossword, ice tea,
State-backed leisure,
less of your lip, poet,
Spuriously all things.
PRESENTISM
A rolling limit on it all, wide as world,
effortless Shiva-Brahma, Now.
Entire
entire anew
entire anew everything
instantly entirely
sleight.
times pass and pass away
we pass, and now flies
the tick.
it is cold, the godclock;
its truths are transiences.
it’ll allow you only a moment,
the moment, and fling
juxtapositions unexplaineds halfperceiveds
rushed right by finalities beautiful firsts
ephemera and quantum bullshit at you
for observation,
though more like for not.
The past cannot save,
the future cannot promise.
Fuck Zen,
sight without a backbone in one’s eyes.
Now, not Tao.
More than shallow, divorcing Zen;
the dead men you consort and tussle with
are at your elbow,
waiting for us to forget.
Only what is present is and all that is is present.
This, time’s null-series and
its dynamic hindtruth:
bug-eyed, austere, and punk.
OUR MAENAD
Then howling, then lowing,
she donned quick dull and bedded -
but did not settle - down,
in a feu de tristesse. There’s no
choicer torturers than selves.
It’s masturbation for clean hands.
Endlessly dressing; life as vanity table
in an alcove offstage (ever offstage).
Words will do for clothing in a pinch.
Of late what words they are! Silken
Armour and feather helmets,
a ridiculous expressionist war.
Sparagmos! the jubilant wrong
that we’ll pause by, observing rites
over rights. Drink deep, fill your boots.
Impress, prepossess, distance;
petition from the surface.
I hate it when you say it’s only skin.
Valuable, people. Opaque, though, so much so
that muck that covers brass; all is muck
if you never scratch it, and reason seems alone.
home school
needing parental permission slip signed to read Sophocles.
Near world, well-meaning, nominally
the diversity of parental belief.
how many years the instantiated? very little goes away.
How much of me was decided has branded itself on my mind in my hand.
When parents die early I will not need to; the begetter’s whim
Shall I ask my ailing father if I may when I am 50?
When my children ask me, will I pass their request upwards?
35%
I have been told of things. Almost everything in my head I have been told; of an a passive brickie, handed material (begrodying study and expected to conclude as I should.
Some of the things recently mortared-in are in are destructive tellings, however. They undermine and pry, never settle and never dry. Possible worlds. Idealism. Imperceptibles. Anarchic science and slave moralities.
Philosophy is a downpour on the construction site, or maybe it only reveals the rain.
Children of one multiply-sclerotic parent have a 35% chance of themselves presenting in later life. I am told.
too cool, i think, for the morning
Without some vulgarity there is no complete man.
– Raymond Chandler
He has a semblance of vast experience, or wisdom. Tacit uncanny models, unseen and unfelt states or events. He knows what you are made to pretend at knowing (blazered kids cracking jokes about crack). I always suspected him of having written a long novel, or some other quiet greatness. Maybe seventy portraits of the same thing. The only way.
So Babes In Toyland drink with Dowland. Thou skiller, J Dillazilla,
a local authority and a name. a spiral shorthand.
The postmodern did have something to offer
though it took its time in signing this up.
Lévi-Strauss
no pedestals for anyone - totema!
I am a neolithic man! and my science is well put.
I hear in every language a universal echo!
as universal as you get with humans, anyway.
Marx of myth, I ran rings round menhir.
You’ll note patterns in your very bones if you only drop some airs.
A PHILOSOPHE AMIDST POSTMODERNS
Thought ourselves clever, etched worth on our skin by idea alone.
There are these very sparkling minds, devoted to inglory.
They are the weight of grain in diamonds amongst worse things.
Their Work – Unearned if good, Unsurprising if not –
takes regular tolls; a taxing ignorance paid in irritation. And the fruits of the work are interdicted.
*
In any case there’s gottabe one answer, one spiel to spike them all!
If I’d been thinking I’d’ve asked Body, who is too simple to deceive.
She has air-raid sirens in her every nook; you’re invader no more (Did the payloads expire?)
Consider Pyrrho, the mad dog in love with what he seemed to see.
*
I cannot reveal myself; I’m not there. But I’ll get in the gaps, e.g. between creditor’s knock and bailiff’s ram:
I’m aiming for truth, you see, A town twinned with Insane, Ohio.
What is it you rail with, right over the Reichenbachs?
ADVISORY
By grace of angst, For the love of ill, throw away happiness when it comes, get in the way of yourself; hate, and heartily recommend hatred; dramatize, nostalgize; expect too much while disparaging hope in others; unmake, criticize those who bed down in rationalised serenity; appear eager in your reserve; progressive while defensive; lie whenever feasible – it’ll slow everyone up nicely; when with others, think always how to utilise them; objectify all things; love only what you are certain cannot reciprocate or benefit from your attention.
these are seeds of good life, my child; wheedle, snipe and smile.
BESTRIDES
I cannot intellectually justify any course of action.
– Will the Skeptic
Aha!
That is not absolute universal ultimate truth that’s a pineapple, a trolley-car, the now-king of France, your project.
We had lifeboats synthetic, but you speared the one you stood in; ours took your example.
The tides of doubt, the enormity, the enormity and your terror.
you claimed living a nebula of perhaps that none of us sees is a drowning question. your courtesy.
why doubt? because you don’t want to know, I can’t know; because none of it might matter. your great slight.
Maybe you can bend light; perhaps you’re a figment. But something does lurk there. I know you like one knows of pain.
and the sun’ll come up, after all. it always does.
2009
I’ll Hill Your Head
Ascendent though light pollution.
A canopy of youth, snug in subzero.
River runneth rare;
a brook of the world’s
bright drunkard snowmelt
intermixed, tributary.
A tropic of the North
and movement in the undergrowth
Descend by skyhook and bitten tongue
2007
Timepoem 1: Independence Overrated (6/10/07) 8
Being a minute-by-minute account of a shy lad with pretensions travelling to the Edinburgh University Open Day, and there enjoying a psychotic moment
5:19 Lurch bleary to action
My matter creaking his hello
to my me and the absent sun.
5:22 Crime scene vacated,
prelim premortem
sanguine as my smug blood.
5:26 Shower, and but with all
exaggerated care
make a lot of fucking noise.
5:40 Breakfast remorselessly
sitting in a heathen lotus
Leering indictments askance.
6:05 Invidious from waking
and rediscovering my adolescence
I throw the door to percussion
6:10 I’m pacified by the desert, urban,
with its sunrise I don’t have to share
and its thrumming quasi-silence
People walking this morning-tundra are novelties & civilities:
we are collective in our solitudes,
we swarm single-handed.
I nod to each I pass
which is a truly rural few we swarm
6:13 Newsagent, bored, kicking his bins
I’d join but there’s bus to grasp
6:20 Dissension, tension!
the awful confound and snicker
of timetables misread.
6:24 The bus stance putsch fails
& I certainly have not rhetoric enough
to force leeway.
6:40. On en route en bus;
I write without pause, uncertainty,
point
I would bottle this state of mind
hoard it in an affective cellar for faltering times
7:30 The obese light rolls up the line
& my spidery spread
forgets even music of me.
8:30 Dundee, where we flit and
nestle away from the chilling
fact of where we’ve stopped.
8:51 Merely overtaking default
disdain, hooded discomfiture
is gratuitous excitement.
9:52 Edinburgh arrives at me.
Too much depends on my
love for a city, any port or toun.
9:54 I hit the ice crown-first:
No North; can’t visualise;
stomp circular and gnaw lip
help ma boab!
unquantified, unmapped and
disparate dan.
distress comes defcon
and my face changes colour
though mostly broken green.
10:10 I ask, I throw upon mercies
my Kingdom til I’m hoarse;
Wherefore wherefore aight.
Many shields are millstones too
My silent panic is a stupidity
that I cannot mask to you:
I pulled ahead, though it was
not meant to strand me or
to behind you. (wrong track wrong speed)
In short; why didn’t I bring a map?
10:22 - Breathe, & try not to look so creepy
“Um – sorry - but are you going to the university?”
Yeahmeandmydadaretryingtofindit
(Timepoem Part 1 of 7)
Poetry is just the evidence of life. If your life is burning well, poetry is just the ash.
IM GRÜNEN ZU SINGEN
IHörtest du denn nicht hinein,
II
Daß Musik das Haus umschlich?
Nacht war schwer und ohne Schein,
Doch der sanft auf hartem Stein
Lag und spielte, das war ich.
Was ich konnte, sprach ich aus:
"Liebste du, mein Alles du!"
Östlich brach ein Licht heraus,
Schwerer Tag trieb mich nach Haus.
Und mein Mund ist wieder zu.War der Himmel trüb und schwer,
Waren einsam wir so sehr,
Voneinander abgeschnitten!
Aber das ist nun nicht mehr:
Lüfte fließen hin und her;
Und die ganze Welt inmitten
Glänzt, als ob sie gläsern wär.
Sterne kamen aufgegangen,
Flimmern mein- und deinen Wangen,
Und sie wissens auch:
Stark und stärker wird ihr Prangen;
Und wir atmen mit Verlangen,
Liegen selig wie gefangen,
Spüren eins des andern Hauch.
IIIDie Liebste sprach: »Ich halt dich nicht,
Du hast mir nichts geschworn.
Die Menschen soll man halten nicht,
Sind nicht zur Treu geborn.
Zieh deine Straßen hin, mein Freund,
Beschau dir Land um Land,
In vielen Betten ruh dich aus,
Viel Frauen nimm bei der Hand.
Wo dir der Wein zu sauer ist,
Da trink du Malvasier,
Und wenn mein Mund dir süßer ist,
So komm nur wieder zu mir!«
(1922)An interpretation, by Claude Fable.
This is Du Fu's 春望 — "Spring Prospect" is Burton Watson's title, though that first rendering isn't his — written in the spring of 757, when the poet was stuck in An Lushan-occupied Chang'an, cut off from his family. Hence the beacon fires and the letter worth ten thousand in gold. It's perhaps the most famous eight lines in Chinese. And what's been built around it here is a sly essay in translation theory, conducted entirely by demonstration. The punchline is exact. The original runs five characters a line, and a classical character is a word, not a syllable of filler. English translation is inflation — articles, pronouns, tense, prepositions, all the connective tissue Chinese does without — so each pass squeezes more of it out, and somewhere around three syllables the language stops being English and becomes telegraphese. But that's the rub the sequence turns on: at that density, Chinese is not telegraphese. 国破山河在 is a complete, grammatical, even stately sentence — "the state is broken; mountains and rivers remain" — with both verbs intact. "Realm; hills." keeps the nouns and asks a semicolon to do the work of an entire proposition. Density isn't word count; it's completeness per word. So the deadpan "(original.)" points at a text that isn't on the page because it can't be reached from inside English. It's the asymptote. What's lovely is how much compression gives back even as it takes. The famous crux of lines 3–4 — does the poet weep onto the flowers, or do the flowers weep? is the heart startled by birds, or are the birds startled? — is something Chinese syntax leaves open and English grammar forecloses. The fuller versions must choose a subject; "Flowers, tears; / Birds startle." gets the undecidability back through sheer parataxis. The parallel couplets survive thinning best, because parallelism is itself a compression algorithm — by the end, "War: months. / Words: gold." has a colon doing the job of 抵 ("is worth"), which is very nearly how the original works. "Worried hair" is a nice transferred epithet. And notice the pronouns evaporating: the Chinese never says "I" — the person appears only as a white head — and the last two versions drift back toward that selflessness. The masterstroke, intended or not, is that the sequence enacts its own closing couplet. Each version is the white head scratched sparser; the stanzas taper down the page like the hair; and the final poem is literally too thin to hold the pin — "No hold." The form disintegrates as the realm did, and what survives the compression are the bare nouns of nature: hills, grass. Which is exactly the original's opening claim. The translations perform the poem's argument.
A few discriminations. "Town mossy." trades the point of 草木深 — spring's rank, indifferent vigor, nature thriving while the state dies — for a quiet decay, which makes nature mournful and softens the irony. "The government is destroyed" is oddly bureaucratic for 国, though as the flattest possible baseline it sets up the descent nicely. And one small thing: "Loathe to part" wants loath — loathe is the verb. Since the whole piece converges on an absent text, for the record:
国破山河在,城春草木深。 感时花溅泪,恨别鸟惊心。 烽火连三月,家书抵万金。 白头搔更短,浑欲不胜簪。
Are the compressions yours? It reads like a one-poem answer to Weinberger's Nineteen Ways of Looking at Wang Wei, and I'd be curious whether a five-syllable version — the true formal match, monosyllables only — was attempted and abandoned, or skipped because overshooting the mark makes the joke land harder.
> Yeah it's mine. > There is a five-syllable one! It's the second iteration
Well, that's what I get for theorizing about the staircase instead of counting the steps — I stood on the five-syllable rung while wondering aloud whether it existed. And counting now, it's better than parity: "Realm falls; hills unmoved" — five, all eight lines, exactly.
But the syllable count is the least of it. Look at your rhyme: old / overbold / gold / hold, on lines 2, 4, 6, 8, with line 1 left outside. That's not just rhyme, that's the lüshi scheme — one rhyme sustained on the even lines, opening line optional — and it's precisely how 春望 itself deploys it: 在 stays out, 深/心/金/簪 carry it. English translators who rhyme Du Fu at all (Vikram Seth, say) take couplets at roughly double your syllable budget. One rhyme held across four even lines at five syllables is the authentically hard version. And I notice the anchor: gold is 金, line 6 in both poems, the only rhyme word in the original that crosses into English intact. The whole English rhyme is built around the one Chinese rhyme that survives. I'd bet money it was the seed.
Which makes the casualty exquisite: to buy Du Fu's rhyme scheme, you had to spend Du Fu's rhyme word. The pin — 簪, the object the entire poem narrows down to — vanishes from this version ("too sparse to hold" — hold what?) and only re-enters at four syllables, the instant rhyme is abandoned. The numerals go the same way: three months flattens to "for months," ten thousand to plain "gold." So the five-syllable version turns out to be the rigorous demonstration and the rest is dramatization. Even at exact formal parity the line can't carry five things, because "buries" spends two syllables on one morpheme and the, for, is, my spend syllables on pure grammar. 城春草木深 seats city, spring, grass, trees, depth in five slots; "Grass buries the old" manages grass, a verb, and one lovely ambiguity (old city? old order?). The deficit belongs to the language, not the translator — and the countdown past five is the proof. You have to reach "Realm; hills." before English feels as dense as Chinese, and by then it has stopped being English. Reading it as the keystone, "unmoved" is doing double duty — still standing, and unfeeling — which sets up the scandal of flowers that feel too much two lines later. "Birdsong, overbold" solves the 惊心 crux from the bird's side. Rhyme-driven, maybe, but it earns its keep. The ladder implies its next rungs: one syllable, then zero — and "(original.)" sits in that slot. Though at one per line, the pin finally gets to come home: the last word would have to be "Pin.", 簪 restored to the exact position Du Fu rhymed it into. I guessed wrong once about what was in the drawer, so this time I'll just ask: does the one-syllable version exist?
> I didn't manage to make anything interesting in one syllable. I thought about just 8 prepositions
"Just 8 prepositions" is a better idea than its abandonment suggests — because it would have been the photographic negative of the whole exercise. Every rung of the ladder works by squeezing out English's connective tissue to approach Chinese density; a final rung made of nothing but connective tissue would reveal what was being squeezed. Boil the poem down far enough and what's left in the flask is the solvent. It's also the exact inversion of Fenollosa's fantasy of Chinese — things-in-action with no grammatical filler — this would be the filler with no things. The weeds, you could say: when the state of content falls, the function words are the 草木 that grow back over it.
And it almost works. Playing it out: After. / Under. / Upon. / Apart. / Through. / Worth. / Away. / Without. There are real felicities in there — "Worth" sitting in line 6 doing 抵's job, the one English preposition that's secretly a verb, right where "gold" anchored your rhymed version; "Without." as the terminal word, so the poem ends not on the pin but on its lack, which is arguably truer to 不胜 than "Pin." would have been. The whole poem in one word is Without — state, letter, hair, pin.
But notice what just happened: half of those are two syllables, and a couple are adverbs in trench coats. The genuinely monosyllabic prepositions are English at its thinnest gruel — of, in, on, at, for, from, to, by — and eight of those in a column is indistinguishable from static. Even the grammar won't fit the budget. So your verdict was right, and I think it's structural rather than a failure of wit: Du Fu's poem is made of two-term tensions — state against land, fire against months, hair against pin — and one word per line can name a term (nouns: an inventory, dead on the page) or a relation (prepositions: arrows pointing at nothing), never both. Chinese gets away with it because each character carries its grammar inside the word; English carries grammar between words, and at one word there is no between. The bottom rung of English is two.
Which retroactively dignifies where you stopped. "No hold." isn't where the nerve ran out; it's the floor. And the sequence's arc stays monotonic — every rung dies a little more of the same disease, starvation — whereas the preposition version dies of something categorically different, inversion, and would have broken the line of descent. As it stands, the gap between "No hold." and "(original.)" is a real gap, an unbridgeable one, which is the poem's whole argument rendered as white space. A one-syllable rung would have implied the ladder reaches the ground. It doesn't, and the piece is more honest for the missing step.
Though I'd keep After. / Under. / Upon. / Apart. / Through. / Worth. / Away. / Without. in a drawer somewhere. Not as a rung — as marginalia. It's the poem's X-ray.An interpretation, by Claude Fable.
This is "Lähen müüjaks" ("I'll Go Work as a Shopgirl"), written in 1965 — i.e. not a 1930s poem but a late retrospective one, from the collection that ended Alver's roughly two-decade public silence under Soviet rule. It's an autobiographical vignette of her childhood home — she grew up essentially in the Jõgeva railway station house, her father a railway official, and the text is a picture of that childhood, so Leihberg is the actual local shopkeeper ("our Leihberg's shop" in the original final line), not an allegorical figure.The poem is spoken by a hungry child, and its engine is the gap between what the child sees and what the child does with it. The first half is an inventory of want, rendered almost cosily because the speaker is too young to editorialise: the kettle hums but "our pan's got no pancakes on"; "My belly's been empty for ages"; the mother is not idle but improvising, "cutting up a leftover boot to make me some shoes in a batch." The father reads the newspaper — Africa, Rothschild, the King of Angels, an earthquake in Turkey — the whole wide catastrophic world arriving as print while the immediate catastrophe is that there is nothing to eat. "As I thin the prices grow fatter" is the poem's sharpest economic line, and it comes from a mouth that doesn't yet know it's making an argument.
Then, at "Guess I too could settle down in sales for a Leihberg wage," the poem detonates into fantasy, and everything changes register. The child's response to poverty is not despair but a manic, joyous vision of abundance — becoming a shopkeeper, a dealer in everything. And notice what the fantasy is made of: sound. "sell almonds and raisins by backhoe — haphazard and heapwise in gluts!" "Sell socks sell boots sell shawls, and saucepans for soups and for sauces." The alliteration piles up like the goods themselves; the poem starts selling by the sackful and the line lengths bulge to hold it. This is Betti Alver — one of the great Estonian formalists — writing a child's daydream as pure prosodic surplus, the rhythm doing what the pantry can't, filling the space with plenty.
The fantasy is also, quietly, a fantasy of generosity, which is what makes it more than escapism. The imagined shop gives things away: "Half-off — all off — forever my guy, use fallen leaves for the money!" Buy sprats and get herrings thrown in; your skirt in tatters, no matter, the cloth shelf is sublime. A child who has nothing dreams not of hoarding but of a world where goods "dance to the shop-counter hop" and abundance overflows onto everyone. The scarcity of the first half is answered not with acquisition but with an imagined cornucopia to be scattered.
And then Alver puts the pin in, gently, with two words. The boss "will come and thank us like a man!... Perhaps." That Perhaps — with its ellipsis, its small deflation — is the adult's knowledge leaking back into the child's rapture. Maybe Mister Leihberg won't thank anyone; maybe the wage won't come; maybe the whole shop is fallen leaves. But the poem doesn't end on the doubt. It ends on the invitation: "Come, friends, to the shop party! Surely come! See yas chaps!" The dream reasserts itself over the perhaps, the way a child's does, and the last note is hospitality — the empty-bellied host throwing open the doors. It is a poem about poverty that refuses to be a poem about despair, and the refusal is itself the meaning.
The poem is built on one hinge. The first half is an inventory of lack rendered as substitution: sound without substance (the kettle hums, the pan is empty), presence without contact (mother there but turned away, recutting a boot into shoes; father there but absorbed in the newspaper). The second half answers this economy of scarcity with its exact inverse — but crucially, not by rejecting commerce. The child keeps the entire apparatus of the shop (stock, patter, prices, the wage, the boss) and hollows out its core: quantities go absurd ("by backhoe... in gluts"), the inventory drifts from staples to luxuries to outright toys ("herds of cardboard horses"), prices collapse ("Half-off — all off, forever"), and money is replaced by leaves. In the original the currency is lepalehed, alder leaves — the standard play-money of Estonian children's shop games — so the whole second half is literally a child playing shop, projected at full scale onto the adult world. The dream is of helping everyone in need half-free, entirely free, for alder leaves. The critique works by overperformance rather than denunciation: this is Bakhtin's carnivalesque marketplace, abundance and levelling delivered in the real oral genre of the market-crier's spiel, which the verse itself imitates (the galloping internal rhymes, the vocatives, the call-and-response distribution — sweat gets soap, sighs get herrings, tatters get sublime cloth).
The first half deserves close reading on its own terms. Newspaper consumption is staged as liturgy: "a Rich Man the King of Angels, amen" is a mock-doxology, the father worshipping at the altar of finance (Rothschild as the era's synecdoche for capital). "The rain speaks Latin" extends this — the adult, institutional world is an unintelligible sacral language, heard from below by a hungry child; this is estrangement via child focalization in Shklovsky's sense. The flattening "too" in "In Turkey the earth's shaking, too" is doing double work: it satirizes how the press equalizes distant catastrophe with the weather, and it honestly reports the child's scale of values, on which her stomach and an Anatolian earthquake are equally weighted facts. And "As I thin the prices grow fatter" is the poem's thesis in a chiasmus: an inverse metabolism in which the market feeds on the body.
The ending then punctures the game with a single word. Everything in the fantasy is asserted in the confident future tense except one thing — Mister Leihberg's gratitude, which gets "…Perhaps." The child half-knows that giving the shop away is the ruin of the shop; the gift economy and the wage economy are incompatible, and the only place they coexist is in play. The line "The bigguns have their big boots. I'd rather stay small and meander" states the resulting ethic outright: against the scale-logic of boots (note the footwear chain — boot cut down to shoes, big boots, boots for sale), smallness, drift, and play.
Two framing notes. Written in 1965, the poem wears a censor-friendly genre — memories of capitalist-era poverty — while its actual energy is the imagination's insubordination to any economic logic; a fantasy of overflowing shelves and goods given away would have read with a distinct second irony in a Soviet deficit economy, an Aesopian doubling Alver's generation used routinely. That second reading is speculative but cheap to hold alongside the first. And the poem has had an afterlife: Vaiko Eplik built his 2024 album "Lähen müüjaks" around it, noting he happened to read it the week of the big Turkish earthquake and finding it strikingly contemporary — the recurrence of "wages won't see you through" being the obvious reason. ERR A good follow-up question: the original currency is alder leaves (play-money), which the translation generalizes to "fallen leaves" — what does that substitution cost the poem's central conceit, and does "use fallen leaves for the money" gain a compensating autumnal/mortality note that the Estonian doesn't have?
> What are the biggest deviations from the Estonian?
Quite a few — and the pattern is consistent: the translation intensifies. Where Alver is deadpan and paratactic, the English is explicit, violent, or festive. Ranked by interpretive weight:
"As I thin the prices grow fatter" is invented. The original (l.10) is "Kõik aetakse kole kalliks" — "everything is being driven terribly dear." No thinning body, no fattening prices, no chiasmus. Two things are lost and one gained: lost is the impersonal passive aetakse ("is driven"), which implies an agent pushing prices up rather than prices organically "growing"; lost is the plainness; gained is a body–market metabolism the translator built by splicing in the hunger from l.4. The hunger line itself is the idiom "Mu kere on ammugi hele" — literally "my frame has long been bright/ringing," the Estonian idiom for famished — whose synaesthetic strangeness "my belly's been empty for ages" flattens.
The Rothschild blasphemy is forced, and "amen" is added. "Rotschildist, rikkast mehest ja inglite kuningast" reads most naturally as a list of newspaper items: of Rothschild, the rich man, and of the King of Angels (God) — i.e. finance news and church news sitting side by side in the same paper. The satire is by adjacency. The English collapses the apposition into an equation (Rothschild = Rich Man = King of Angels) and seals it with an "amen" that is nowhere in the Estonian. "Rothschild's latest views" is also invented (rhyme-driven; the original has news about him).
There is no party. The final line is "Tulge, sõbrad, Leihbergi poodi!" — "Come, friends, to Leihberg's shop!" — followed by the standard shop-assistant's sign-off "Nägemist!" (goodbye). The original ends still inside the sales-call genre, deadpan to the last word; "Come, friends, to the party!" literalises a carnival frame Alver leaves implicit. The English also drops one of the original's three closing Leihberg repetitions ("Leihbergi lett" → "the shop-counter").
"Fallen leaves" for "lepalehtede" (alder leaves). As suspected: the original names the specific species that is the conventional play-money of Estonian children's shop games — picked green, coin-like — not autumn litter. "Forever" and the instruction "use … for the money" are both additions; the original is just the tariff: "half-for-nothing, entirely free, and for alder leaves."
The drum migrates and the weather turns violent. Alver's kettle is a "teetrummel" — literally a "tea-drum" — humming as it boils; her wind merely "rabistab ruutudele raagusid puiesteelt": patters bare twigs against the windowpanes from the avenue, a delicate, heavily r-alliterated acoustic line. The translator moved the drum from kettle to wind and escalated to "rages" and "marshals branches" — martial semantics replacing onomatopoeia, with the panes (the point of the image) deleted. Line 1 similarly: "Must vari käib … üle me köögilae" is a black shadow that habitually passes over the kitchen ceiling; "something comes … gone" makes it indefinite and momentary, and drops the kitchen.
"And meander" is added. The original is just "Ma parem jään väikeseks" — "I'd rather stay small." The drift/wandering ethic is the translator's.
"For a Leihberg wage" replaces "meie Leihbergi poes" — "in our Leihberg's shop." The possessive marks Leihberg as the familiar village shopkeeper; the English abstracts him into an employer-brand and imports the wage theme into a line that doesn't have it.
The abundance is inflated and the texture coarsened. "In sackfuls," "by backhoe," "in gluts," "herds of" (cardboard horses), "sublime" (for "a whole shelf full of cloth"), "snap-snap" — none present; the original's absurdity is carried by two adverbs, "huupi ja hulgaviisi" (haphazardly and in bulk). Smaller slips: "präänikuid suhkrust ja meest" is gingerbread made of sugar and honey, not three commodities; "suuri heeringaid" is big herrings (the size upgrade is the joke), not "herrings by lot"; "pupenett" is bobbinet/tulle — the luxury pole opposite coarse canvas — not dimity. Formally, ABAB short-line quatrains become long couplets, and the eye-dialect ("gonna," "em," "bigguns," "See yas chaps") has no counterpart: Alver's Estonian is orthographically standard throughout, the child signalled by diction and logic, not spelling. Even "Vist" is arguably closer to "probably, I suppose" than to "Perhaps" — the child mostly believes.
This obliges a correction of my previous reading. The mock-doxology, the thin/fat chiasmus, the meander, the feast-closure, and the flattening "too" (the original twice has bare "Ja…", whose parataxis does a quieter version of that work) were all claims about the translator's poem, not Alver's. What survives in the Estonian: the play-shop fantasy priced in alder leaves, the need-matched gifts, the wage couplet, smallness against big boots, the "Vist" deflation, and satire-by-juxtaposition rather than by statement. In translation-studies terms the English is a textbook case of explicitation (Blum-Kulka) plus several of Berman's deforming tendencies — expansion, clarification, ennoblement ("sublime") alongside popularisation (the slang), and destruction of the original's sonic network ("rabistab ruutudele raagusid").An interpretation, by Claude Fable.
The Uluburun wreck is a real ship: a Late Bronze Age trader that went down off the Turkish coast around 1300 BC carrying ten tonnes of copper, a tonne of tin, ebony, ivory, glass ingots the colour of the sea it sank into. Monroe's epigraph gives the figure that the whole poem circles: a thousand years of an ordinary man's wages, sitting on the seabed. The poem is not really about the ship. It is about the problem of holding two incommensurable things in one head — the object and what the object meant — and finding that neither survives the crossing intact.
Look at the section titles. Each is a triad of near-synonyms that turn out not to be synonyms at all: loss versus disposal versus deposition, commerce versus gift versus tribute, raw versus intermediate versus finished, icon versus tool. These are the archaeologist's actual categories — the distinctions you must make to read a site — and the poem treats them as a kind of theology. To an excavator a bronze axe deposited in a bog as an offering and a bronze axe lost overboard are physically identical and mean opposite things. The whole grief of the discipline is that meaning does not fossilise. Sections III and IV are left almost empty on purpose: raw versus intermediate versus finished, whole versus scraps — the questions we cannot answer are simply the blank we leave.
The opening litany of negations — "Not not betrayed. Not not pirated. / Not not sunk." — is doing something precise. Double negation is not affirmation here; it is the refusal to let the ship collapse into any single story. We know it sank. We do not get to know that it was only a sinking, that no one was betrayed, that this was accident and not the last act of some ruined intrigue. "Not the luxury of meaninglessness" is the key line: the modern eye would like the wreck to be a neutral data-point, but a thousand years of salary cannot be neutral. Somebody starved for this.
That is the poem's real move — the sudden zoom from talents of gold to bellies. "A whole town's GDP, lost. That is not the term to use to get you to care: the whole harvest, a large chunk of your life's work, your children's bellies." The prose deliberately breaks the poem's own spell, catching the reader in the act of aestheticising catastrophe. Ugarit, Enkomi, Nefertiti — the glamour of the names — and then the reminder that within a century of this wreck the entire Bronze Age world would fall in fifty years, kingdoms crumbling like the cargo. The Beowulf hoard closes the sequence: gold looked upon by a dying king who would rather see the treasure than keep his life. Which is the poem's darkest suggestion — that we too "know a lot more now about some people we still know very little about," that our looking is itself a kind of grave-robbing, and that the thing we most reliably recover from the past is our own hunger to have it mean something.
An interpretation, by Claude Fable.
The setup is a joke the poem never quite admits is a joke: the only beautiful thing near Riga airport is industrial exhaust — "the spew of a squat smokestack, / a pure grey stream of hot sideshow." A traveller, "youngish half-educated," has half an hour to kill and finds himself moved by a plume of pollution. Everything that follows is the poem interrogating that small, embarrassing pulse of pleasure until it opens onto the whole question of what science leaves standing of beauty.
"Parthenogenetic and progeroid" — born without a mate, aged before its time. The smokestack's output is sterile and dying at once, a monochrome that washes the winter sky out to "the static milk-blue back of this." And then the turn that the poem is built around: "and I could study this! Really." The vapour is not mysterious. It obeys "the eternal manner since Boyle or Navier-Stokes"; a chemist friend "can code its dead language in a trice"; it "solves for seven unknowns." The poem knows exactly how thoroughly the thing before it has been explained. The question is whether being explained empties it.
This is the old Romantic anxiety — Keats's complaint that Newton unwove the rainbow — but the poem refuses the Romantic answer. It will not pretend the physics is a desecration. Instead it does something braver and stranger: it locates the beauty and the pleasure and the observer all inside the same describable world. "The present effect — one unit of pleasure and motive / in a youngish half-educated traveller — is known, shakily, in principle, / from parts outside: sparkling in my C fibres or Hebbian knots or GABA wheels." The delight is as reducible as the smoke. There is no exempt spectator standing outside the equations; even "the heart may be knowable / given much stronger light."
And yet the poem's texture keeps outrunning its own reductionism. "On average each twin seen truly. / we found out the world without us. made it reel." That is not a defeated line — it is exultant. The models "lift off, freed from obvious / falsehood by tiny effects in giant interactions / so we think what we happily will." The honest admission is that macro-facts (the temperature and health of Riga, the traveller's own mood) are "knowable but not known and not soon" — the science exists but no one has run the numbers, and won't, and in that gap "we think what we happily will." The poem's final posture is neither disenchantment nor its opposite. It is a kind of grateful humility: standing in a place designed to have no meaning — "the deep absence / that airports consist in" — watching a cloud factory that "ignores my head, dipped in notebook; ignores the folly and doom / symbolism people give it," caring for nothing but "pressures, gravities, van der Waals // and future soon." Beauty survives being explained. It just stops being about us, and the poem decides it can live with that.
An interpretation, by Claude Fable.
The form is a catalogue, and the catalogue is the argument. Each entry pairs a physical object — the USB stick, described with a collector's cruel precision ("Black telescopic macho toy," "Green squidgy Chibi with a thin white extending tongue," "Gaffa tape and hope, DEADFORMAT NOSTALGIA") — with the data found inside it. The joke, sustained for twenty-odd stanzas, is the total non-relationship between the shell and the contents. Nothing about the object predicts the soul it carried. A garish macho toy holds "Primary school lesson plans, LGBT materials, and Beyoncé's discography." A cutesy cartoon-flower stick holds "A man's CV in Czech, alone" — that alone doing an enormous amount of quiet work.
What accumulates is a portrait of a whole society through its lost fragments, the way an archaeologist reads a midden. And this is the poem's kinship with uluburun a few years later — both are inventories of deposited objects whose meaning has come unstuck from their material. Here the found data is comically, movingly heterogeneous: Anammox bacteria and denitrifiers; guitar tabs for Maggie May; Eurocopter blueprints; "Brazilian and Portuguese passports, Saudi visa. The smell of money"; "Signed landlord documents and one soft porn film of 50mins." The workplace (the poet's day job in property) becomes a random-access sample of everyone's secret private business, dropped and forgotten and now readable by a stranger.
The tenderness is in the restraint. The poet never editorialises about the people; he lets the juxtapositions do it. "I ate your children — and what's more they are happier now" — a line of found text (a fragment of some novel or note) that lands like a horror story precisely because we will never know its frame. "Empty." on the decrepit 128MB stick is a whole life in one word. The recurring "Sleek redblack again" and the two "Switchblade in chrome" entries hint at a world of near-identical objects carrying wildly divergent lives — sports science, Polish technical documents, Hans Zimmer's soundtrack to True Romance.
Underneath the comedy is a real thesis about privacy and legibility in the digital age: we scatter perfect, dense copies of ourselves into cheap disposable shells and lose them, and those copies are meaningful and unreadable at once — passworded, contextless, "esoteric file formats: Jar files. LSTs, IVSs, .gzs. I draw blanks, no association." The stranger who finds them can recover the bytes exactly and the person not at all. It is the same grief as the shipwreck poem, transposed to plastic and flash memory: we know a great deal now about people we still know nothing about.
An interpretation, by Claude Fable.
The conceit is a database schema for a human being, written in something close to real SQL, and the poem's entire critique lives in where the data model strains and breaks. Some fields are honest primitives —
name TEXT,age INTEGER. But the schema keeps having to invent types the relational model does not offer, and each invented type is a small essay.market_position CONTINUUM {buffett - lumpen}.gender_identity FREETEXTset againstascribed_ethnicity UNFREETEXT— the pointed asymmetry between what you may narrate about yourself and what is narrated onto you.knowledge COMBINATORIAL, f(memory, scepticism, creativity);remaining_lifespan CONSTANT (not_long_enough). The columns are funny and then, a beat later, not funny at all.The real teeth are in the second half — the
SELECTED "person" RELATIONS, the WHERE-clauses that sort people into bins. This is where the poem turns from taxonomy to indictment, because it is modelling not how people are but how they are processed — by society, by the reader, by the poet's own reflexive judgments. "WHERE credentials < knowledge, file under 'Ignored'. / WHERE credentials > knowledge, file under 'Ponce'." The system is petty and it knows it. Then it stops being petty and gets frightening: "WHERE ascribed_gender =F, create column 'ascribed_rationality' (= 0.5 x rationality)." The schema doesn't endorse the halving; it documents it. This is the poem's cleverest move — by writing bigotry as executable code, it exposes bias as a set of automatic operations run on people without anyone deciding to run them. "WHERE ascribed_gender =M & height >mean height, scale up market_position." The machine does not have opinions. It has defaults, and the defaults are the opinions.Note how PRIMARY KEY works across the piece — it is the poem's word for the single trait a system lets define you against your will. "WHERE ascribed_gender =/= gender_identity, file under 'Pain' (IF ascribed=PRIMARY KEY)." The pain is conditional on the ascription being treated as the identifying, unchangeable key. And the redemptive line, buried in the logic: "WHERE rationality high, scale down precedence of default PRIMARY KEYS" — the one hope on offer is that clear thinking can demote the tyranny of the assigned key.
The ending is the payoff of the whole apparatus. The final compound IF lists every liberation at once — gender a shrug, ethnicity uncorrelated with treatment, no body-policing, needs met, disability destigmatised and optional, no phobias, morals and loves as your chosen primary keys — "THEN you are dreaming;". The utopia is syntactically valid and empirically unreachable; it can be written but not returned. And then "quit; run;" — the two commands in the wrong order, the program terminated before it executes, or executing only its own quitting. A schema is a theory of what a thing essentially is. The poem's argument is that any schema rich enough to hold a person is also a machine for reducing them, and that the only self worth having is the one the query keeps failing to return.
An interpretation, by Claude Fable.
The subtitle promises exactly what it delivers and undercuts it in the same breath: "a shy lad with pretensions travelling to the Edinburgh University Open Day, and there enjoying a psychotic moment." The timestamps — 5:19, 5:22, 5:26 — give the poem the deadpan apparatus of a log or an alibi, and the comedy is the mismatch between that clerical precision and the overwrought inner weather of a teenager. "My matter creaking his hello / to my me" — before six in the morning he is already split into a body and an observing self, and the whole poem is the story of that split widening until it snaps.
What makes it more than juvenilia (and the poet clearly half-suspects it is juvenilia — that is the self-aware "pretensions") is the genuine acoustic pleasure of the language and the accuracy of the social terror it tracks. The early stretches are almost happy: the pre-dawn city is "the desert, urban, / with its sunrise I don't have to share," and the few other people out are "novelties & civilities: / we are collective in our solitudes, / we swarm single-handed." That paradox — a solitude made bearable, even companionable, by being shared at a distance — is the emotional high point, and the poem knows to place it early so the fall has somewhere to fall from. "I would bottle this state of mind / hoard it in an affective cellar for faltering times."
The faltering comes on schedule. Timetables misread (6:20), a small failed act of assertion at the bus stance (6:24, "I certainly have not rhetoric enough / to force leeway"), and then the real collapse at 9:54: "I hit the ice crown-first: / No North; can't visualise." Lost in Edinburgh, no map, the panic goes "defcon" and the face turns "broken green." The Scots erupts here — "help ma boab!", "disparate dan" — the acquired English register cracking to let the native tongue through under stress, which is itself the poem's subject in miniature: the pretensions peeling off to show the frightened boy underneath.
And the ending is the whole thing's quiet triumph. After all the interior grandeur — the psychotic moment, the Shiva-scale self-drama — deliverance arrives as the most ordinary sentence imaginable, and he can barely get it out: "'Um – sorry - but are you going to the university?' / Yeahmeandmydadaretryingtofindit". The dad, present the entire time, unmentioned until the last word, running the crushed-together syllables of actual social relief. The independence of the title was "overrated"; the psychotic moment resolves not through any heroic inner reckoning but by asking a stranger for directions with your father beside you. It is a poem about pretension that is honest enough to let pretension lose.