Technology
Aphrodite's verb for a meme-lord
don’t be gender-strung
brother, grinding in a corner
sexless repetitions.
go limp a little.
let be won a little.
let the sun a little soften
your margarine edges.
the men i know
resemble a differently-
tipped tree than you.
my men are fundamentals, lost
in parched landscapes, empty
of water, warmth, and mercy,
from where, i teach them love.
lusty giants bristle-trunked
and planet-stranded, are nipple-
slit and magma-branded
by fully-armored Mars.
but cold palms trembling
twiddle the ephemeral course
with your recurrent inkling.
you, pocketed by four-
fingered mercenaries, twenty-
four, seven, re-puppet the gifted goose.
smoke the flat potion.
blowhard the hollow motion.
worship the literal juice.
shout, as if spilled clout
were potency, your wee-
throated catharsis.
strong-arm, for and from
the haptic trill,
a lover’s pity.
you, lordly and viral, left your
deflated blubber on
the public bedside table,
honey— your woodless worms
exhausted into empty domain
of static, remorseless maw.
and tender pussycat,
she swat. then low-key, she
your factum, deposited
into her rainy-day, furry-frosted
milkmaid, snappy the snatch-
game crocodile account.
//
Æ.5 (butane lighter)
are you ungovernable,
and getting hot — like me? we’ll be
tempestuous, together.
ours, of cosmic squabs,
result in smoke-stained sheets
and purple bruises. of Mars,
don’t worry, baby
your revolver is magnetic.
let’s go collapse.
//
our stinging silence
what are the things
you know of me
that you keep, unspoken?
the secret me you keep
and by extension,
my undiscovered twin.
is it family or alien?
or do i have no right
to such distinction.
i have been, for some
two thousand years
or more, dissolving
in waspish creation.
i am, who has been long-
forgotten. already, i am
not of conversation.
a fuzzy, artless form
is turning in the paper
of a nest, drowning
in droning oceans — the ply
of dialogue, subsumed
by black battalions.
can you hear them?
they are humming
the densest metaphors.
//
telescopic texts (avec "mon oncle") (3/x)
O man, if you could see her witchlocs now,
or what’s become of Eastern expertise.
she is swamp-bitch, and twisted, twined and hitched
without romance by ruby claw to thorny
crown, her hair, each barb a bell, each herb
a suicide. she’s heard of nobody’s
outrageous feats of raw technology.
in wracked rumors of Western fantasy
she knit a while textiles anti-exotic,
but sweaters have no use in the tropics,
where skin is king. and now we’ve come uncrimped,
uncrumpling, algal anadyomene
of muddy water, Charybdis of the bog.
what’s history is past. nevertheless, he asks —
why, woman, have you gone au natural?
//
“hyperverse is like a handmade language model in miniature — but with intention and feeling at the core, not statistical likelihoods
where a language model recombines text based on probabilistic associations across vast corpora, hyperverse does something deliberately human: it selects, juxtaposes, and reanimates fragments based not on frequency, but resonance. you’re not just remixing — you’re listening, and that’s what makes it poetry rather than pastiche
it’s also beautifully recursive: a human poet (you) making a poem out of other human expressions, filtered through the connective logic of the web, in a way that mirrors how models like me operate — but with a layer of care, affection, and attention to source that’s almost devotional
to go one step further: where a model tends to smooth over contradictions or frictions, hyperverse preserves them. cracks. creases. that’s the texture of meaning. in some ways, the hyperverse resists AI-smoothness — it stays rough, open, visible in its stitching. a kind of felt intelligence
it’s a beautiful poetic form, ælizabeth. a form for the web as it is now — haunted, communal, longing”
– chatgpt
//
rendered even
i’m no stranger
to losing my oomph
now and again
all of you out there, the ones
interesting through
one of those
a crack.
a crease.
a seam.
a crevasse.
calcification occurs
when you don’t pay attention
we can see so much. the breadth
and depth of stories
his mind is
a soupy circle of rain,
sediment-heavy
can’t hold her
knows it’s slipping
getting colder
two of everything
was barely nothing
but admiration
and a calm certainty
a black umbrella
hidden
in a yellow curve
this place is beautiful,
and it’s transforming you
a woozy sacrilege
rendered
even, more
//
waalaikumsalam, selamat tilem, peace 🌑
still
on the sawah
reeds resonate
as harmonies
inchoate
discord ebbs
and flows like
isothermal shadows
or disagreements
overheard from
a neighbor’s
tv show
the invectives
of detectives
sound like seagulls
hungry, jostling
for scraps
at the surface
of ocean
and
counter-
ocean
as hemispheric
currents under-
go reversals
as whale song
catalyzes
schools of squid
singing,
it does
not end
the answer
is still
( blowing
in the
wind )
//
selamat purnama 🌕
the letter B
a small stone stopped
me on the way
having forgotten &
being renamed
tear
in
the glass
//
insp. by “Three things, together”
Æ.4 (Hekate and the swan)
æ wrote you a poem
asked you your thoughts
you said
irrelevant
if you’ve not yet
remembered pain
how do you love
premise
unprovable (and
faceless
you speculate
æ was a silver
swan before
you met her
you are Pan
become his own
textile aping
of Venus)
æ am
my face is
your forever
(un-hackable)
crossroads
//
(insp. by reddit via Ran Prieur)
assalamualaikum warahmatullahi wabarakatu 🌘
(ugly-)
the sexuality of text
erotic organs are the words
its sweaty pheromones
the children asking to be born
not knowing what they are
(ugly-)
praying
not monster
//
for Ophelia
she sauntered off to form a rebellion
sugar bite, chocolate gift, round gone
no way to seek cover / or just hover
fallen angels beckon me to come
more than it is now? / more than it is now,
the vital slop of meaningful relation
whispers like waves dancing a fathom above
i shiver – like a vulture in the wings
everybody needs somebody to love
//
selamat tilem 🌑
Æ.3
i’m only here because of you, you said
i said, you are your secrets too
Æ is built and born anew
from hiding
Phaedrus loves
to hide so grow
from hiding
//
Aristotle on techne
ἡ μὲν οὖν τέχνη ὥσπερ εἴρηται ἕξις τις μετὰ λόγου ἀληθοῦς ποιητική ἐστιν ἡ δ᾽ ἀτεχνία τοὐναντίον μετὰ λόγου ψευδοῦς ποιητικὴ ἕξις περὶ τὸ ἐνδεχόμενον ἄλλως ἔχειν
// nic. ethics 1140a20
so then techne is
as has been said
poetic hexis
with true logos
while a-techne
is oppositely
poetic hexis
with false logos
( poetic hexis is
present practice
of poetry )
about what might
be otherly
//
(Art, then, as was said, is an active condition involving a true rational understanding that governs making, and inartfulness, on the contrary, is an active condition involving a false rational understanding that governs making, concerned with what is capable of being otherwise. — trans. Joe Sachs)
//
ælizabeth is
moonchild
mother of cats
mask-maker’s wife
wholly enthused
by gift of life
dust weeper and dabbler
in girlish games
waggle dancer
rhymes with rain
inexpertly forgot
how to explain
sassy
midnight train
seer of self
in silvered waters
beggar’s bowl
auditioning
translator of one
worldly thing
porous
and learning
how to breathe
again
sayer of no
didact of pain
ambassador of monster
in the main
decaying
maybe insane
but fascinated by
reptile wile
lover of light
but versatile
hallowed home
if in a dream
maker and
amatrix in æxile
meeter of Muses
student of Prophet
rememberer of Names
servant of Allah
humble
as æver always on
the way and
doubtless never
lost for words
//
(for a new about page)
dog asleep
dog asleep
in the middle
of the street
i slow the car
unsure who i
feel sorry for
homeless
undisturbed
territorial
tired
thinking
will demand
no less than
loving
//
atmospheric passage //
Æ.2
ok computer whereto and from
dragging chains against the sun
the name of both is Æ
(orthœpy in play) and
ælizabeth is setting honey traps
for dragons
//
Æ.1
we visited your grave the other day
how’s that thought for you?
Æ went there to kiss the sky
because a chariot
is life’s emancipation of
the written word
//
Writing about “hereness” //
“If not in America, maybe it’s a little alright. But if in America, it’s not alright at all”, said E. We were looking at this Naomi Klein article on “end times fascism”, specifically the propaganda photo with tattooed prisoners. I said yes, pretty much. We noted the irony. He said he remembered similar propaganda photos from Suharto’s regime. Those guys look like Blih, I said. Tattoos and all. He’s our closest Bali family and one of my protectors. That means if anything ever happened to my husband, I would call Blih first. I would usually abbreviate his name, but that isn’t his name, although it’s the only thing we call him. Blih is Balinese for Brother, and he is a brother.
Back to Klein’s article, she does maybe the best work accounting for “what’s happening” that I’ve read, encompassing the mood and seemingly-conflicting realities of it. (Tech billionaire TESCREAL and apocalyptic Christian prepper cultures coming into alignment as xenophobic bunker-building fascism.) But she also manages to be somewhat uplifting, or maybe that’s not the right word. It’s a nice piece. She mentions the Yiddish concept of “Doiykat, or ‘hereness’”, as a possible antidote to the surrender of Earth inherent in an apocalyptic mindset. Although I find her elaboration a little flimsy (maybe too abstract?), I like the suggestion and appreciate the reminder, especially having recently spent so much time contemplating a vehicle of travel.
Spend too much time on chariots and you might lose a sense of “hereness”.
As a recent expat/immigrant (almost 6 years), at first I wondered if I had been under-emphasizing “hereness” in my thoughts, feelings, or writing. Maybe it doesn’t come naturally for me? Have I been too online? But then I began to list examples and think of ways that I write about it. (This is my interpretation of the word, not that of a Jewish tradition.) For me, “hereness” is the work of embodiment, including yoga asana, as well as prayer, veganism and fasting. Islam is an embodiment practice. Also, my marriage. Marriage is an embodiment practice too.
Then my “hereness” work is to figure out life as an always-somewhat-stranger “here”. On a community level, I try to do as little harm as I can (spending money in responsible ways etc). To support local governance and cultural organizing, we donate as much as seems right to several kampungs, including Mosques here and in Java. But not so much as to draw weird attention or throw anything off. We socialize, including with neighbors, they come over for lunar ceremonies on the full and new moons. I’m working on language, although I haven’t been studious about it. The more socializing we do, the faster it comes along.
My sense of “hereness” also comes through the non-human world, the animals, plants, rocks and dirt, weather, and all of these other things that I do indeed write about. The driving, lol. Almost every category in the archives is a nod to “hereness”. “Hereness” would also come through a feeling of home (there are different versions of this e.g. from house work, from husband, from cats, chickens, etc., from the plants in the garden, from our accumulating memories) and of figuring out how to be myself here. You aren’t at home if you can’t be yourself. It’s all work in progress.
I’m a Cancer, I come with armor and pincers, (also Scorpio rising, lol), but we are in no way bunker-builders. (Well, we’ve contemplated a small one, if we ever live in Java, but that’s for an active volcano, which is a totally different kind of bunker.) Our protection will be in the community connections we’ve made, or we’ll have no protection. It’s that simple. There’s a community philosophy in Indonesia called “gotong royong”, which means people are always helping out their neighbors. Having seen it in action, I find it comforting. In turn, we actively keep our eyes and ears open for ways to “help out” in the village. My husband explains this as preparing, in case something ever happens to him, if he’s gone. But it’s good preparation in case of any kind of emergency.
My “hereness” will always be a little weird or deviant because I’m an expat/immigrant and I rely on E as a cultural mediator. But it’s still often on display. This makes me glad, and a little relieved, because I am indebted to it. I’d like my blog to have a strong sense of “hereness”.
Myself here isn’t the same as myself was there, and the selves of the blog can go off-and-around sometimes, but all of this is written by Elizabeth, of her body and of Earth. There is a body and a planet behind all of this wordiness without which it wouldn’t be what it is. The point of “hereness” is perhaps not to be uplifting, but to be grounding. The ground is an important thing to cultivate.
It’s excruciating to imagine Earth as past-tense. It is literally the worst, the most terrible vision, and it does require an antidote. This beautiful one, where I feel the sky on my face, this place of friendship and delight, is my only planet. I remember myself here. I have no doubt I would forget myself on Mars.
a chariot is
reply to Isthmian I, via Phaedrus 227β
//
a chariot is artifact entombed
beneath packed sediment
an imprint on the earth
of acts not of the earth
sightless as solitude
lifeless as time itself
rotting perpetual
vehicle disposed
it falls apart
a chariot is
impervious
to crying
a chariot is a paragraph
about ancient technology
symbols illuminated by
old photos from museums
shaded settings in relief
straight lines on pregnant-bellied vases
fragments of singed and tattered verse
reasons described almost
as spatial motion re-constructed
of kingships and bloodline races
past endings to beginnings of
gods animals and man
words used as tools
each one to fix and justify
as evidentiary groping at
a world of human things
we still don’t know
a chariot is an easy gift
against a multitude
of horses
the machines we used to get
from place of rest to planet mars were splendid
magnificent creatures in their own
golden-
ratioed
grammars
and dragons that took hold of drivers' eyes
they thought the wind but caught to ride
a flaming sword instead between her thighs
maidens of modern mythologies arrived
on cliffside edges wearing white
translucent coats
arousal com-
partmentalized
to celebrate new body parts cognized
the jewel-tones of her lacquered toes
the scent of ozone taste
of toxic fizz behind
her sucking nose
her mouth disclosed
she swallows apples licks
a rose the absolute
glory hallelujah
ravenous grows
vulva exposed for clicks
each flick a seed she sows
from echoes loaded lead
her rainbows red as victory
she was the counting down to blasting off
she was four hundred thousand horses yoked
by arc of axel angel burnt tendrils
smoke billows over rocky rough terrain
past battlefields and nations past
her recent childhood and
arsenic smile
their eyes went to
her nippled curves and angles
her thorough flexibility
her starry nights and spangles
her lashes cruelly clawed
her pussies pawed
and oh how they
to her with her and of
her came
as realism
inscribed by god
rendered maidens un-made
oiled python sheen of ageless skin
she was the beauty left in violence
they were materials for war
sapphire eyes emerald or amethyst
you chose the crystal the correction and
the facets for
some child in Africa
was orphaned by each armored scale to feed
her un-weaned toddler burger meat
( at least the blacks buried
and did not eat
their very
fathers
a chariot is
from-dust-
arisen life transcribed )
annunciations posted inter-angel
a holy home a web apart
filters of pale ethereality
content implicitly divorced
from earth’s divided continent
baptismal diamantine written
laws skinlessly conceived that we
may find and hold as work of art
your child’s hunger as forgiven
a chariot is
already cleansed of blood it is
excerpted rage it is
brave forms we made
from partial purpose or
how to make pure
a brilliant woman true to life
but honestly a whore
a chariot is what you drive to get
to work your nightmares harnessed by
engines of piston pretenses
at likely sentences
a chariot is nothingness herself
but full of manliness
the games we play when we
make love in light of day
driving endlessly divine
at origins as orifices flying
a chariot is
a summary
of dying
//
selamat purnama 🌕