I’m proud to announce that I have two poems, 3am Soundtracks and Thinking About Philip Levine are up over at the always stellar Rusty Truck. Poems about factories are hard to get of your system, when you can’t escape from the system, but misery always makes for a worthy muse.
Writing is not a dying art form, but it is rapidly changing. Writers typing words into computers like this is becoming a thing of the past. Of course, writers and luddites alike have been saying for a long time that technology is killing writing; the only difference now is that I am not sure it is entirely a bad thing.
William S Burroughs stated that words are a virus and cited the advantages of hieroglyphic language. He also stated that words were tools of the control machine and used cut-up as a means to subvert said machine and reality as well. The cut-up method lives on to this day and has been utilized by artists far and wide both underground and mainstream, myself included. We all came to cut-up for varied reasons, but largely because ordinary writing had reached an impasse. Cut-up was taking us places that traditional language could not go. We knew, at least subconsciously, the limits of language. Experimental literature is alive and well albeit still in the fringes of modern literature. Some authors are moving beyond language entirely and defining (or re-exploring) the boundaries of ascemic literature.
However in the everyday world, language and how we perceive it may be changing more rapidly than it is in the art world, we just don’t think about it. Whereas outdated notions of tradition or formula inhibit many artists, technology adheres to no such boundaries.
The internet has changed the way we receive information and it would seem language is going through a slow metamorphosis. People are putting down magazines and newspapers to gather information online. Books and chapbooks are giving way to e-books. Blogs have given way to Facebook which has given way to 140 character tweets. Language is getting lean, like haiku. It is mutating and merging with image. The new language is a strange synthesis of words, images, sounds, hyperlinks, hashtags, and emoji. Literature is changing, as well as how we disseminate information. The way we “read” is changing accordingly.
It’s an exciting time to be a writer, provided you are not bound by the printed page. Of course the theories I am expounding are nothing new. There are innumerable artists far more talented than I that have experimented with form, communication and the new language for much longer than me and with much more precision. They too have realized the limits of language and how to overcome these limits. Still yet, I feel the need to reiterate and express the ideas to myself at the very least. You see, for all of my experimentation and grand ideas sometimes I still get hung up on words. I still get stuck on the label of “writer” which often leads to frustration as an artist. After all, how can the concept of “writer” remain the same if the concept of “reader” has evolved? Basically, how do I sell something no one is buying? We too must evolve and drop all notions of what a writer is. We must purge ourselves of noir imagery of the alcoholic writer with a cigarette dangling from his mouth slamming keys on an old Corona typewriter. Exterminate all rational thought. That is another lesson Burroughs taught us, but like the Buddha in the road we must also slay Uncle Bill and all of his wisdom. Nothing must stand between the artist and total freedom. Not you, not me, not words.
I’m proud to have my poem Wide Infinity Lines included in the newest issue of The Zoomoozophone Review. As usual, it’s another stellar collection of forward thinking/experimental literature put together by editor Matt Margo. I promise it’s well worth your time!