The OS is as agile, as prismatic as it needs to be to meet the needs of the many complex systems with which it needs to intersect and dialogue. In this way it’s my mirror—or a mirror of any of us who’ve learned that we need to be chameleons to remain adaptable and resilient.
You go fishing in the Ocean of Story. There are a lot of fish there, and some of them are talking fish. Some stories are their voice. They tell themselves.
“Narrative, it seems to me, is by nature immersive, both for the writer and for the reader. You may stay on the surface of a text in the sciences, or in scholarship generally, but story is meant to draw you inside. From the oral taletellers to the present time, the artist’s task and reader’s joy is this absorption in story. It’s why we laugh aloud while reading, why we cry at the movies. And it’s what we fear to lose in the more restless digital world.”
[T]his novel is more about the pace of house-to-house combat. The intimacy of it. Storming into people’s bedrooms and bathrooms.
“I think poetry’s odds, at this point, are as good as those of any other human endeavour, maybe better.”
“I think writers are always realists. I think Joyce in Finnegans Wake is a realist. What is interesting is the question of what’s real.”
Yes, I’m still wasting my life, and it does seem to be, for me, a personal requisite for writing my poems.
I’m interested in older poetic forms in an almost Benjaminian sense, as artifacts that have outlived their world, which when resurrected Frankenstein-style bring certain utopian resonances as well as modes of critique to bear.
Christian Bök discusses:
The Xenotext, science and avant-garde futures
Unless, of course, one begins to see in the world itself an infinite series of poems in the process of constellation. A series of shifting and at times revelatory sets of relations.
“I think my poems—say in Mean Free Path—are at their most personal when there is simultaneously a sense of the first-person as a node in a system (grammatical, economic, etc) and as a medium of lived experience. I am writing out of my experience most directly when I am writing about my difference from myself in time, which means what’s authentic about my voice has to be discontinuity as much as continuity, right?”
China Miéville discusses:
Surrealist influences, genre fiction and cityscapes