PRACTICES, APPROACHES, TECHNIQUES
Sometime circa 2004–2008, my sister Brit and I invented a practice of “speed poems.” Speed poems can be played as a game or group activity in rounds, where everyone writes one within some allotted time, followed by group recitations. They tend to be humorous and conversational in tone, although these qualities are not requisite. They may also be created collaboratively.
Rules of speed poem:
1. Speed poems should be created in the stream of consciousness.
2. It is suggested that they be completed within 1–3 minutes of starting.
3. They can be spoken aloud or written down.
4. It is strongly discouraged to go back and edit previous parts of the poem.
5. The title is created last.
Some of the earliest specimens:
[A: Alexis, B: Brit]
B:
Quilt
you keep
me warm
the feathers
probably
came
from cold
birds
Title: LONELY
A:
Terribly cold
isn’t it?
Is the
weather nice
where you
come from?
is
it?
can you
respond?
now please?
i feel dumb.
Title: FLIRT
B:
I would
love to
marry you.
You didn’t
ask?
That’s
fine
I’ll marry
you
anyways.
Title: YES
A:
Water is
on my
face
get it
off or
don’t you
touch me
I swear
I’ll kill
You
Title: INDECISION (TEARS)
StoryPoems are a practice created by my father, Todd Crawshaw. In his words, they are “a hybrid genre of poetry and short story inspired by Cranes’ The Black Riders & Other Lines and Debussy’s Preludes for Piano, where each concise piece is a cosmos, a distilled symphony.” His work can be found here.
Inspired, I have begun my own practice in this vein. In my related work, I am drawn to narrativizing somatic experiences.
I write lyrics as a part of my practice as a composer, songwriter, and vocalist. I have written lyrics in English, French, and ancient Greek, and sometimes multilingually, in-between these languages. Regarding my process, sometimes I compose with pre-written lyrics, but often the music comes first, dictating the form of the lyrics. As a consequence, my compositional and structural experimentations in music help to arrive at new forms in lyrical structure.
Procédé is a technique by writer and poet Raymond Roussel where the text evokes a subtext of other words, especially when the words are read aloud. I employ this technique in my own work, sometimes playing with multilingual streams of information.
Cut-up is a technique started by the Dadaists and has been notably employed by such figures as William S. Burroughs and David Bowie. It generally entails cutting-up some text and rearranging the parts. Predictive keyboards with constrained datasets can serve as a digital tool for enacting this technique. In my related work, I enjoy curating combinations of source texts and designating procedural or other creative constraints for guiding word selection, playing with shared authorship among source authors, machine, and myself.
POEMS
NEW ROOTS
(lyrics)
The dew kissed eyes of new blossoms
Open to the warm smile of the horizon.
Give me a seed, forest of tomorrow:
Oak and pine, juniper and laurel.
The dreams of roots, the songs of ages
Heal our scars, turn sprouts to sages.
We hold one another, fold into ancient memories.
The dreams, the dreams, the dreams, the dreams…
SPINDLE PESTLE
(lyrics)
The seed spins the ancient wool,
Training entropy as it pulls.
New growth, hope of tomorrow.
Tangles melt, new meanings woven.
Confidence, carve out the rot.
Mitosis, ratchet from chaos.
Spindle of necessity.
Pestle plunged in the darkness.
Working the cosmic mortar.
Card the harmful into softness.
Spin the thread of wonder
And beauty, beauty.
Combine our tapestries,
Build new realities.
INTO THE MOUNTAIN
(lyrics)
Nestled down into the forest floor,
Murmuration of stirring leaves overhead,
Reverberations of a lone bluebird’s song
Tell the shape of the soft-vaulted cavern.
Angled pillars of sunlight raining down,
Running through the fingers of the old architects,
Sculpting down to the tempo of generations,
Sentinels of epochs.
All permutations, all possibilities
unfold out on the stage of fallen leaves.
The joys and sorrows all melt into the soil
to nourish each breath in the chaos, the chaos.
Uncertainty of Our Stars
Celestial gears churn the current
upon which our hopes bob,
Racing, swept down drops—
It’s several months past, a decade.
Alarm tears us from slumber to recall:
Dreams dashed against rocks,
A firmament—a vastness—of occluded possibilities,
Poems never to be written,
Written poems never to fall upon gentle ears,
Spectres of loneliness in company,
The reach of an embrace
But the arms are dust.
Tomorrow is forever a stranger,
A promise unkept,
A moment cut in precarious authorship
Between our wits and unforgiving waves,
Between attention and inattention,
Between joy and sorrow—
We ready our legs to surf, to dance
Along the edge of the quantum knife.
NIGHT RUN
A storypoem
A man’s face is in the window. Boy wakes with a start. 2:54 glows red.
The room sits pregnant with velvet inertia.
He levers his torso up, back against the pillow, breathes the back of the skull into the headboard. Jolt. Wall stops wood. Wood stops bone. Roll. Follicles crackle. Bespeckled black out the window. Feeble winkings gaze back with longing. No moon.
Need a run.
The legs miss their sericeous geode. Wiry carpet meets toes. Straightening. Electric nerves quicksilver down inside the head’s hourglass. Tingling to equilibrium. Soles rove over woven furrows to confront the neutral-expressioned dresser. Shorts plucked from the right eye. Shoes pinched from under the dreaming belly of laundry. Dress. Doorknob.
Quiet needed for the hall. Haunting the wall, breath held high in the chest. Key up on the hook. Flesh’s warmth mutes its icy rattling. Doorknob.
Pillowy charcoal. A leaden, sunken silence: eluvium from overhead wind.
Starting up the hilled street. A light jog. Cornflake leaves perforate the plenum. A lambent, suspended womb approached and abandoned for viscous ink.
Midground: gales aloft rustle looming pianists, fingers dancing ceremoniously upon power lines.
Background: ___.
Vacuum.
Up, deeper into festering black, swallowed into hillside stirrings. A foreground of unrest: a constellation of swollen güiros and insisting syncopations from moist corners. Surging gusts threaten the vegetation. Roars rush the heart.
He climbs higher into the terror.
Mind tunes to the night, laminal motion carries now. Plunging, rising, seeking nothing.
Nothing.
…
Tinnitus.
A harmonizing ring ahead provokes attention. Heart skips.
Feet, weighted, plod to a stop.
Piercing his sight through the pitch curtain, he almost imagines the bony white figure on the bicycle, clicking down from a pinched vanishing point. The vector is—to him.
Stops just before. The man leans forward in address:
Gaunt, luminous grin.
…
The moment suspends itself another lifetime before sinking back into the gloom, whirling away, downward.
Hypnopompic paralysis. His manubrium a singular point within endless, cavernous carbon.
Warm terror pulses. Benthic baths deluge the ears. Caustic chills perch on the chest and tunnel inwards. Nerves alight, stinging. Eyes open or closed? Testing convergent tectonics with eyelids, burrowing to white darkness.
Open eyes. Dense, peppered grey. The room. Indifferent dresser. Slumbering laundry. Billowed curtain. Open door.
…
Tinnitus.
the bad news is that you previously missed the importance of this event
the bad news is that you previously missed the importance of this event
an even more profound labyrinth of deconstructed ideologies
the mythinformation can navigate absolute chow
siren emergent
gutenberg dragon
dramatic ubiquitous
erudite hallucinations
symphony warscape
rocket eye radioactive
satellite arithmetic for the cultural thunderstorm
sea dragon of the new mesopotamia
back to the atmosphere research of the fragmented
wind vector of the negative spacelab
magic engineers for the neural resistance
weather watch for a new improvisational
the season is digital entropy
a period of abnormally warm media
silver visible cyclical classical
we also have an embodying function
we also called the computer human
in museums of a geometrical abandonment
the volcanic promises of the digital finite
chameleon garden party
utopian arithmetic for the frontier body
we need a set of integers greater than the tornado of meaning
back into the body of the new euclidean
in this end a real tyrant could be any sort of feedback
air that originates in the tropics of mathematics
an algebraic giant clam that studies parasitic libraries
numbers that can predict results for the first fiction philosophers
weather facsimile of our institutions up the encyclopedic tree
in both the digital individual and the chaptered reality caves
satellite instruments who the engineers of shrimp murder
electronic offended
mindstorms ideological
cultural helix
humanist knife
turing symbiosis
viscerally mathematic
viscerally cyborg
symphony crayon
morphing immutable
renaissance mainframe
hammerhead mcluhan
ratio anomaly halfway in each enraptured electrical caterpillar
and the principles of algebra moved infected neurons from the gutenberg associative to the redemptive hand of the new divine knife
sea slug of mathematics
the decay of mathematics concerned the toothed topological
a drought of memory
radiative numbers that accompanied others
back beyond our humanity to the bottom of all clawed promises
megahertz zebra
Infra-dite
My rose wears its petals like an assemblage of blades
It did not awake gently from pillowed tear-kissed glades
But fused into blossom form from furnace winds and angry sand
Radiant armor from shrapnel hands
My rose’s ballet is frozen in imperceptible largo
It does not burst like a firework in exuberant glow
But it stands the sentinel of epochs awaiting its hour
Desiccation syncopates burning salt tides to train the flower
Yet while my rose is devoid sweet perfume and luscious red
It recalls the lunar star and its constant march overhead
Carrying a lone torch through the viscous unknown
It projects a frustum of order, a beacon of crystalized foam
A wax cylinder for encoding the slow songs Ananke spins and stirs
From salinic to selenic, through χαλεπὰ τὰ καλά, its message endures
Ό ΤΉΣ ΑΠΟΣΤΗΡΙΞΕΩΣ ΟΡΧΗΘΜΟΣ́ | THE DANCE OF THE FULCRUM
Original ancient Greek lyrics with word-for-word English translation (not adjusting for grammatical oddities)
Πρός τή οδώ όπου αι τ’άνθων ξανθοφαών έλικηδαι γεωμετρίαι έκ τής άσφαλτου συνεξάνθουσαι πάρεισιν
By the road where (of golden-gleaming blossoms) helical geometries out of the asphalt break out together all about
Καί ή χαμαίβατος προσαιθρίζεται ίνα τόν μάραθον απακονά καί ό μάραθος γλυκός τό βάτον κάμπτει·
And the blackberry [ground-berry] sending fennel into the air sharpens it and the sweet fennel (acting upon) the berry bends it (in turn),
Αυτή ό Ήλιος Πανόπτης Άργον αγασάμενος, ό δέ πανόπτης κατατηξάμενος πρός τόν πόντον ερρύη καί υπερεξέτεινεν
Here, Helios/Sun the All-Seer (at) Argos admiring, and the (other) All-Seer [Argos] melting under (his gaze) becoming a river slowly and overwhelmed in bliss,
αί δέ εκατόν θυρίδες μιτορραφείς αργύφεαι πυριμάρμαραι διεξήναντο καί ό κυανομαρμαρωπός τήν ελάαν άπεβροχεν·
And his hundred windows, composed of threads, silver-shining sparkling-like-fire separate, and (this) blue sparkling eye (acting upon) the olive tree swallows it
καί ή ελάα χαμαισχιδής ουρανίζουσα
And the olive tree branching from the ground upward reaches to the skies
τήν τε παραντίχειρα καί τόν αντιδάκτυλον αμφία αγκύλω επεκτείνε ίνα τώ τού πόντου κόρακε ζυγοσταθμά
The forefinger and the thumb on both sides wrist-bending stretches open, here, for two cormorants, balancing
ίνα τώ τού πόντου κόρακε ζυγοσταθμά
ώ τοίσπερ ισθμοίς διαλυγίζουσι καί διαλέγουσιν
Their two necks twist and discourse
τά πτερά διευτρεπίζουσι ίνα αναπτεροφορώναι καί μολπάρχουσιν
Their wings preparing here for flight and for conducting the song-dance.
To My Parents
The beauty that is the labor of forming the stubborn rock,
Collection of nascent jags,
when every prohibition and instruction invites
contemplation of perpendicular possibilities
To avoid the extremes:
Turning to stone oneself, abrasive,
Dissipating into breeze, empty,
But holding the balance:
Remaining the succession of waves
That confronts each unlearned edge
To seek new orientation
Yet teaches the base to hold fast
Brushing, crashing, smoothing,
Until a point emerges
Directed upwards: tracing, following
Swirling celestial wonders
Unknown to those
Who were never given
the directed finger
with which to point
And who were never left
the wandering curiosity
with which to imagine.
Insomnia
(Lyrics)
The moonlight, the moonlight
Traces the space between the trees on my walls
Fragments my windowpanes/pains
And my thoughts may sleep
But not my eyes, not my eyes
Who can sleep,
Who can dream,
Who can think,
When reality eclipses imagination?
You are lambency, you are lambency
You flush me over, short circuit my introspection
I’m left to observation
What more can I do
With incandescent eyes, shadow-casting eyes?
Who can sleep,
Who can dream,
Who can think,
When reality eclipses imagination?
Daddy Long Legs
(Lyrics)
Daddy Long Legs makes his way
Angle by angle hunts his prey
Hey little spider, you’re gonna trip on all your legs
Asymmetric calculations will take you down
Daddy Long Longs marks his path
Every step makes crooked math, crooked math
Hey little spider, you’re gonna trip on all your legs
Climbing up the walls, you’re bound for a fall
Climbing up the walls, you’re bound for a fall
…
Tenuous, precarious
You’re better off suspended
Hanging in the air
[A: Alexis, B: Brit]
B:
Quilt
you keep
me warm
the feathers
probably
came
from cold
birds
Title: LONELY
A:
Terribly cold
isn’t it?
Is the
weather nice
where you
come from?
is
it?
can you
respond?
now please?
i feel dumb.
Title: FLIRT
B:
I would
love to
marry you.
You didn’t
ask?
That’s
fine
I’ll marry
you
anyways.
Title: YES
A:
Water is
on my
face
get it
off or
don’t you
touch me
I swear
I’ll kill
You
Title: INDECISION (TEARS)