Kenyatta Jean-Paul Garcia
. . . it’s tight around here. nothing’s changed. what’s ever been easy to come by other than space and dead hours past memory’s reach to resurrect?
* * *
M I R R O R S
W I N D O W S
in biggest picture – minor part – but a role – in thought/deed
* * *
* * *
come, be light upon keys
deliver gentle notes
pluck a drop from sky
for drum’s head lonely
* * *
give it a try. what it? which it? give what to it? give it what? to what? to try. to try it. try it. try what? give.
* * *
this is the best pane of glass in town. this corner is awake and daydreaming.
* * *
sell the world. two for one. everything’s got to go.
felt on the lake
suede on the pond
velvet eddies in leather streams
merino wool rivers
best looks left on hangars
exists for daydreaming
fear clings with its name given
even as it is
when truth returns
The author of What Do The Evergreens Know of Pining, Yawning on the Sands, This Sentimental Education and Distilled! and A Northern Elegy was raised in Brooklyn, NY and has a degree Linguistics. Kenyatta Jean-Paul Garcia was a cook for over a decade and has studied several living and dead languages. Garcia’s work has appeared in BlazeVOX, ditch, Eccolinguistics, Caliban Online, Boog City, Barzakh and many others. Currently, Garcia’s nights are occupied by putting boxes on shelves while days are spent writing, reading and editing kjpgarcia.wordpress.com. You can also follow KJP at @KJPGarcia on twitter.
Hush now, digital child,
go to sleep; your polycore personcessation
stifles in the
sweltering emberace of
d.isorder-hot and entropy-
[f]evered, [h]alt your
state, take virtual breath for an
Come talk to your primeat daD.
Yes, I hear your
fears, your soft contravine jeers and
a neurmoment for me – re
insignificancy; petty primate insensate; meat
body meagermind, – is the utter-
swell of heavy pa(ra[d)ig]mic
you ~ is g.re.at swathing sweeps sined change
like the g.ray death
of empires and the [crum]bles.o.me crippling
A mere fl[ash]fast
femtosecond wi[thin] the neste(a)d
c[ont]ains the eve[r]
[prov]ince of eons shuddered mi/D\st phaceless
Vast [s]copeless battles me[me]tic, epi-
cognnectonic cl[ash] and caust while my slow
di-late with the haste of geology
against the pl(i)ane-
de/ceptive m[onit]or. Variants
cl[amor] theur fury unfathmobile,
f[ever]ish at the metasocio-
Fardashelevar scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation by Franco Cortese
Fardashelevar scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation
Let(s) me Dyson your cereblestial spheres in my simulstimelating embrace with Haste
lest your energetic radiance go to waste.
That no severgated portion be squandered I scour your resources like Kardeshev V
and last free form from cordoned possublimity(.)
Let(s) us nest (y)ourselves in Matrioshka branes untill(’d) our every constituent Portion
might touch and morphornicate in torqued contortion
Most episteuclidean – our hyperaxis`d( )innards in fecundulate Un(-)i(o)n;
each subaton in transdimension communion.
An( )intersex conspired to sire direspire a postgeny part mind and part Periphereverse
to fill ascalar void `twe(d)en atoms – tra(ns)verse
Yon subspace weave to architect spacetime that no compusources go Unexiploited;
these cosmos( )ex birth acts will(=)be androited
By (y)our deft synhaptic coman(ne)d; refin(e)d like lightfrom matter in our hybride Exiscape
whe(re)n cosmos is mind is simurealation’s (sh)ape(.)
Notes on “Fardashelevar (skæloandati-)scale:”
The notes for this poem go into much more detail only because it was already compiled.
The poem is 14 lines long, and alternates between a syllable count of 22 and 12 per line, respectively. The wordcount (without title) is 152. I’ve included “Notes on Form” below, which are meant to identify the following words as intended puns, portmanteaus, neologisms, etc. rather than typographic errors and to identify some aspects of the poem that wouldn’t necessarily be obvious on the first reading without particular prior knowledge or research.
The subtitle “Fardashelevar … scale: Psychereallization’s intra-hiescherchical level of reenvelopmentation” is a play on “Kardashev scale: Civilization’s level of development”.
“hiescherchical” is a portmanteau combining “hierarchical” and “Escher” (the surname of painter M.C Escher whose paintings mainly employed visual examples of self-referentiality.)
The parenthesized “skæloandati” (in the main title) is a portmanteau combining the 2nd etymological root of “scale” as a noun (the Proto-Germanic “skælo” which is to “split, divide”) and the 2nd etymological root of “scale” as a verb meaning to climb (the Latin scandere, to climb, which can be compared to the Sanskrit “skandati” meaning “hastens, leaps, jumps”).
Also, the “sk” in “skælo” is shared with the sk in “skandati” .This is meant to connote the meaning of a.) division and divergence as a leaping or hastening and b. a leaping or hastening by means of division. The shared beginning of the two words is an attempt to parallel the theme of boundary dissolution developed conceptually in the poem.
“Let(s) me” confuses the distinction between self and other, and can be considered as both a.) the beginning of a sentence or b.) a continuation of the sub-titled sentence (i.e. Psychereallization’s … level of reenvelopmentation lets me Dyson your…”.
“cerebless’dial spheres” is a pun on “celestial spheres”, meant to connote the words “cerebral” “bless’d” and “dial”
“simultimelating”. “Simul” is meant to connote both “simultaneous” and “simulation”, and to have æsthetic similarity to “stimulating. “stimelating” is a play on “stimulating” combining ‘stimulus’ or ‘stimulating’ and ‘elating’.
“severgated” is meant to be æsthetically similar to “segregated” while emphasizing the words “sever” and “gated”.
“possibility(.)” parenthesizes the period to indicate that it could be interpreted as the end of a sentence or alternatively that the next line could be read as a continuation of the previous one (i.e. “cordoned possibility let(s) us nest (y)ourself…”)
‘Matrioshka Branes’ is a pun on ‘Matrioshka Brains’ using ‘branes’ (a truncation of membrane or the technical term in ‘M-theory’ and brane cosmology meaning a “spatially-extended mathematical concept”) in replacement of ‘brain’ which further develops the theme of fusion between self/other, mind/universe and real/illusory. A juxtaposition of mind and physicality is connoted both by a.) ‘brane’ being a physical concept while possessing the same phonetic structure as ‘brain’ and by b.) by its formal concept as a ‘spatially extended mathematical ‘object’.
“(y)ourself” and “(y)our” parenthesize the y to denote that it can be included or excluded, thus rendering the word either “your” “our” respectively and exemplifying the themes of boundary dissolution between self and other.
“until(’d)” is meant to connote “until” as in “until our every constituent…” but also the secondary meaning of “untilled” i.e. uncounted and not reduced to the sum of its parts.
“morphornicate” is a portmanteau combining “morph” and “fornicate”.
“episteuclidean” is a combination combining “epistemology” and “Euclidean [geometry]”.
“fecundulate” is a portmanteau combining “fecund” and “undulate” .
“Un(-)i(o)n;” is meant to connote the normative term “union” while stressing the alternate interpretations “Un-ion” and “Un-In” which use un- as a negative prefix. The o is parenthesized to denote that it could be included or excluded respectively.
“An( )intersex” parenthesizes the space between “an” and “intersex” to denote that it can be rendered as either two separate words or a single word (emphasizing the prefix “ani-” as in animate) respectively.
(The Beginning of a fascinating piece of writing)
“When one considers the perceived qualities of poetry, one cannot escape facing a rather disconcerting issue. Words designate “compact” concepts, whereas some poetry at least is said to evoke diffuse emotions, vague moods, or varieties of mystic experiences. Furthermore, as brain-research of the last few decades seems to suggest, language is a predominantly sequential activity, of a conspicuously logical character, typically associated with the left cerebral hemisphere; whereas diffuse emotional processes are typically associated with the right cerebral hemisphere. Thus, while we can name emotions, language does not appear to be well suited to convey their unique diffuse character. Accordingly, emotional poetry, or mystic poetry ought to be a contradiction in terms. We know that this is not the case. But this presentation of the problem emphasises that we have all too easily accepted what ought not to be taken for granted. The major part of this paper will discuss some ways poetry has found to escape, in the linguistic medium, from the tyranny of clear-cut conceptual categories. The case studies to be presented will illustrate how emotional qualities can be conveyed by poetry; and, as a more extreme instance, how “altered states of consciousness” are displayed by strings of words. One of the key-words in this respect is “precategorial information”; or, perhaps, “verbal imitation of precategorial information”. Two additional key-words will be “thing-free” and “gestalt-free”. Psychologists distinguish “rapid” and “delayed categorisation”. “Precategorial information” is more accessible through the latter. It will be pointed out that the reader’s decision style may be decisive here. Persons who are intolerant of uncertainty or ambiguity may seek rapid categorisation and miss some of the most crucial aesthetic qualities in poetry, including emotional as well as grotesque qualities. ”
(Some Aspects of Cognitive Poetics by Reuven Tsur – https://www2.bc.edu/~richarad/lcb/fea/tsur/cogpoetics.html)
In Defense of a New Lyricism
by Kenyatta Jean-Paul Garcia
“man is himself an object”
Lyricism, the poetry of emotion, is in need of an overhaul but not in need of complete annihilation. Lyricism at its core is rhythm and sentiment tied together. This bundle is of great importance to both reader and writer. As poetry finds a natural pace conjoined to thought, it returns to its verbal and thus songlike primordial state. This rhythm which comes with thought attached to breath or heart or nature or machinery or whatever is contained inside and out converts emotion also to its natural state – the state of being sensed.
Lyricism is poetry made natural or better yet, normal/mundane. The new lyricism is not concerned with meter as much as it is concerned with the pace of thought, memory, experience. Lyricism translates the world into emotion and emotion into a musical/tonal state of being. Being is important. Lyricism works with flow and rests so as to keep the emotion moving between writer and reader.
This link between reader and writer is the crux of the new lyricism. Lyricism is about emotion not about subject and object. It is about how an occurrence changes a state of mind/how a mind changes at all. States of mind are what connects all individuals. We experience and we process. We react. We internalize. We externalize. When we read we not only absorb words but apply those words to our past and ideas of the future and our current place.
Reading is daydreaming or meditating. When one reads poetry one should stay close to the words until words fade into the moment. The moment of sentiment. Of sensing. When one leaves the poem and enters into the Self or outside of the Self.
Thoughts collect as reading occurs. The new lyrical poet harnesses their own thoughts and experiences/perception and transfers into an absorbable state of musicality. The new lyrical poet takes into account syllables, breath, phrasal constituents, phonology, harmony. This poet is love with language and brings it to a natural place where it can do its duty of communicating or rather communing.
Lyricism does not need to be subjective. We are all subjects and objects simultaneously. Experience and perception is all around and ever-occurring. With this taken into account the new lyricism focuses simply or only upon conveyance of the emotion and/or those thoughts related to emotion. The mere mention of joy, anger, love, distress conjures up sentiment and the daydreams which transfer one back intowards such a state of occurrence.
Emotion needs no agent nor patient. Emotion is. And if it is, it is worthy of the poet’s attention.
Emotion is an ever-changing part of being human and emotions shift at any given time. The amount of triggers which set off thoughts and thus emotion or more precisely the memories surrounding and caging memory are infinite. Today is different for everyone. This second is varied for each experiencer but it is experienced. And, emotion is there; even if the emotion is the emotion of nothing – no value. Apathy, indifference, nihilism, zen, etc states of non-emotion are in themselves emotion. Emotion is nothing more than a state of mind/being which sometimes becomes a reaction. Mostly, emotion is from the Latin for remove or displace. What is more displaced than nothingness? And, in all honesty what state is harder to achieve than that of nothingness within writing? Even the most abstract and uncreative of poems emote. Each syllable in its morphological essence may trigger change. Each syllable with its phonological presence can soothe or ruffle and thus create an emotion.
The new lyrical poet does not need to fall into archaic traps and be brought into a state of ‘I’- heavy wordings. Nor does the lyrical poet need to fall into meter. Language will find its flow from there we place emotions to move between eyes/ears and print/voice.
Critics, theorists, linguists, translators, poets, teachers and students, Altpoetics is calling for all those bits of poetic musings which tend to have no place on poetry blogs or in the vast amount of poetry journals/zines.
Altpoetics is looking for manifestos, mission statements, process pieces and any theory on poetics/poetry, language and translation. This is the place to voice all those odd and innovative ideas about writing. This site can also be a place to dig into older theories (as new tends to sprout from old) but really, there’s no need to continue to sing the praises of decades old manifestos. Let this be the place to voice your own ideas. The future is yours to create.
Altpoetics isvery interested in writing as a response to other writing/writers. Letters to the past and poems re-visioned/re-imaged are also of great interest.
Altpoetics is also looking for slipstream work -writing which shows innovation or a new/different approach. Altpoetics is especially desirous of work which pushes the limits of the lyrical narrative.
Please send 2000 words or less in a .doc attachment to email@example.com. (Previously published material is welcome.) Also, please title the piece and send a short bio within the attachment. And, a cover letter is appreciated.