Merge origin and local in wake of v1

5 files changed, 261 insertions, 1 deletions

@@ -30,9 +30,155 @@
 
 <div class="header-extra">
 
+<<<<<<< HEAD
 </div>
 </header>
 
+=======
+        
+        <section class="content prose">
+            <section id="introduction" class="level2">
+            <h2>Introduction</h2>
+            <p><em>Autocento <a href="http://www.ibiblio.org/eldritch/owh/abt.html">of the breakfast table</a></em> is a hypertextual exploration of the workings of revision across time. Somebody<sup>[<a href="https://en.wikipedia.org/wiki/Wikipedia:Citing_sources#Dealing_with_unsourced_material">citation needed</a>]</sup> once said that every relationship we have is part of the same relationship; the same is true of authorship. As we write, as we continue writing across our lives, patterns thread themselves through our work: images, certain phrases, preoccupations. This project attempts to make those threads more apparent, using the technology of hypertext and the opposing ideas of the <em>hapax legomenon</em> and the <em>cento</em>, held in tension with each other.</p>
+            <p>I’m also an MFA candidate at <a href="http://nau.edu/CAL/English/Degrees-Programs/Graduate/MFA/">Northern Arizona University</a>. This is my thesis. Let me tell you about it.</p>
+            <section id="hapax-legomenon-or-you-are-special" class="level3">
+            <h3><a href="hapax.html">Hapax</a> legomenon, or <em>You are special</em></h3>
+            <p><em>Hapax legomenon</em> (<a href="http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=a%28/pac">ἅπαξ</a> λεγόμενον) is Greek for “something said only once.” It comes from the field of corpus linguistics, where it causes problems for translators of ancient texts. Because it only happens once in its corpus, a <em>hapax legmonenon</em> is an enigma: there’s only one context to guess its meaning from. This means that many <em>hapax legomena</em> remain untranslated, as in Mayan tablets, or are questionably translated, as in the Bible.</p>
+            <p>Given the way we use language every day, treading over the same words and thoughts in a way that is nonetheless comforting, and given the fact that a <em>hapax legomenon</em> is, by its definition, the rarest word in the place it appears, you might think that <em>hapax legomena</em>, as phenomena, are rare. You’d be wrong. In the Brown Corpus of American English Text, which comprises some fifty thousand words, <a href="https://en.wikipedia.org/wiki/Hapax_legomenon#cite_note-6">about half are <em>hapax legomena</em></a>. In most large corpora, in fact, between forty and sixty per cent of the words occur only once, and another ten to fifteen per cent occur only twice, a fact that I imagine causes translators all sorts of <a href="one-hundred-lines.html">grief</a>.</p>
+            <p>This seeming paradox is reminiscent of another in biology, as summed up by this infographic I keep seeing around the Internet<a href="#fn1" class="footnoteRef" id="fnref1"><sup>1</sup></a>: <img src="trunk/infographic.png" alt="Really. I see it everywhere." /></p>
+            <p>Apparently, the chances of you, dear Reader, being born is <a href="music-433.html">something</a> like one in 10<sup>2,685,000</sup>. The chances of me <a href="about-the-author.html">being born</a> is <a href="poetry-time.html">something</a> like one in 10<sup>2,685,000</sup>. The chances of the guy you stood behind in line <a href="yellow.html">for your coffee</a> this morning? His chance of being born was <a href="dollywood.html">something</a> like one in 10<sup>2,685,000</sup>. The thing is, a number like one in 10<sup>2,685,000</sup> stops meaning so much when we take the number of times such a “rare” event occurs. There are about seven billion (or <math display="inline" xmlns="http://www.w3.org/1998/Math/MathML"><semantics><mrow><mn>7</mn><mo>×</mo><msup><mn>10</mn><mn>9</mn></msup></mrow><annotation encoding="application/x-tex">7 \times 10^{9}</annotation></semantics></math>) people on Earth—and all of them have that same small chance of one in 10<sup>2,685,000</sup> of being born. And they all were.</p>
+            <p>It stops seeming so special after thinking about it.</p>
+            </section>
+            <section id="cento-or-just-like-everyone-else" class="level3">
+            <h3><em>Cento</em>, or <em>just like everyone else</em></h3>
+            <p><em>Cento</em> is Latin, stolen from the Greek κέντρόνη, which means “patchwork garment.” A <em>cento</em> is a poem composed completely from parts of other poems, a mash-up that makes up for its lack of originality in utterance with a novelty in arrangement.</p>
+            <p>If we apply the <em>cento</em> to biology, we can win back some of that uniqueness, we can resolve some of that paradox of the <em>hapax legomenon</em>. Sure, <a href="https://www.biblegateway.com/passage/?search=Ecclesiastes+1%3A9&amp;version=NIV">nothing is new under the sun</a>, but it can be made new if we say it differently, or if we put it next to something it hasn’t met before. We can become hosts to the parties of our lives, and rub elbows with the same tired celebrities everyone’s rubbed elbows with, but make it different. Because <em>we</em> put the <a href="call-me-aural-pleasure.html">tables on roller skates</a>. Because <em>we</em> told <a href="creation-myth.html">the joke</a> this time with a Rabbi. Because <em>we</em> are special <a href="snow.html">snowflakes</a>, and it doesn’t matter that there’s more of us than there is sand on the beaches at Normandy. Because <em>we</em> are still all different somehow.</p>
+            </section>
+            <section id="on-n-grams" class="level3">
+            <h3>On <em>n</em>-grams</h3>
+            <p>What we have so far: - A <em>hapax legomenon</em> technically refers only to <em>one word</em> in a corpus. - A <em>cento</em> technically refers to a poem with <em>whole phrases</em> taken from others, patchwork-style.</p>
+            <p>These concepts get more interesting as we play with their scopes. To do that, we need to take a look at the <em>n</em>-gram.</p>
+            <p>In linguistics and computational probability, an <em>n</em>-gram is a <a href="https://en.wikipedia.org/wiki/N-gram">contiguous system of <em>n</em> items from a given sequence of text or speech</a>. By looking at <em>n</em>-grams, linguists can look at deeper trends in language than with single words alone<a href="#fn2" class="footnoteRef" id="fnref2"><sup>2</sup></a>. <em>N</em>-grams are also incredibly useful in natural language processing—for example, they’re how your phone can guess what you’re going to <a href="mountain.html">text your mom</a> next<a href="#fn3" class="footnoteRef" id="fnref3"><sup>3</sup></a>. They’re also the key to fully reconciling the <em>hapax legomenon</em> and the <em>cento</em>.</p>
+            <p>If the definition of <em>hapax legomena</em> is expanded to include <em>n</em>-grams of arbitrary lengths, including full utterances, complete poems, or the <a href="http://shakespeare.mit.edu/">collected works of, say, Shakespeare</a>, then we can say that all writing is a <em>hapax legomenon</em>, because no one else has said the <a href="http://www.thisdayinquotes.com/2011/07/poetry-best-words-in-best-order.html">same words in the same order</a>. In short, everything written or in existence is individual. Everything is differentiated. Everything is an <a href="island.html">island</a>.</p>
+            <p>If the definition of what comprises a <em>cento</em> is minimized to individual trigrams, bigrams, or even unigrams (individual words), or even parts of words, we arrive again at Solomon’s lament: that no writing is original; that every utterance has, in some <a href="howtoread.html">scrambled</a> way at least, been uttered before. To put it another way, <a href="no-nothing.html">nothing</a> is individual. We’re stranded <a href="riptide_memory.html">afloat on an ocean</a> of language we did nothing to create, and the best we can hope to accomplish is to find some combination of flotsam and jetsam that hasn’t been put together too many times before.</p>
+            <p>This project, <em>Autocento of the breakfast table</em>, works within the tension caused by <em>hapax legomena</em> and <em>centi</em>, between the first and last half of the statement <em>we are all unique, just like everyone else</em>.</p>
+            </section>
+            </section>
+            <section id="process" class="level2">
+            <h2>Process</h2>
+            <p>In compiling this text, I’ve pulled from a few different projects:</p>
+            <ul>
+            <li><a href="elegyforanalternateself.html">Elegies for alternate selves</a></li>
+            <li><a href="prelude.html">The book of Hezekiah</a></li>
+            <li><a href="table_contents.html">Stark raving</a></li>
+            <li><a href="art.html">Buildings out of air</a></li>
+            </ul>
+            <p>as well as <a href="last-passenger.html">new poems</a>, written quite recently. As I’ve compiled them into this project, I’ve linked them together based on common images or language, disregarding the order of their compositions. What I hope to have accomplished with this hypertext is an approximation of my self as it’s evolved, but <a href="https://www.youtube.com/watch?v=oJjcF2DmFFY">all at one time</a>. Ultimately, <em>Autocento of the breakfast table</em> is a <a href="building.html">long-exposure photograph</a> of my mind.</p>
+            <section id="a-note-on-terminology" class="level3">
+            <h3>A note on terminology</h3>
+            <p><em>Autocento of the breakfast table</em> comprises work of multiple genres, including prose, verse, tables, lists, and hybrid forms. Because of this, and because of my own personal hang-ups with terms like <a href="on-genre-dimension.html"><em>poem</em></a> applying to works that aren’t verse (and even some that are<a href="#fn4" class="footnoteRef" id="fnref4"><sup>4</sup></a>), <em>piece</em> applying to anything, really (it’s just annoying, in my opinion—a piece of what?), I’ve needed to find another word to refer to all the <em>stuff</em> in this project. While the terms “literary object” and “intertext,” à la Kristeva et al., more fully describe the things I’ve been writing and linking in this text, I’m worried that these terms are either too long or too esoteric for me to refer to them consistently when talking about my work. I believe I’ve found a solution in the term <em>page</em>, as in a page or <a href="leaf.html">leaf</a> of a book, or a page on a website. After all, the term <em>page</em> is accurate as it refers to the objects herein–each one is a page—and it’s short and unassuming. But it’s probably pretty pretentious, too.</p>
+            </section>
+            <section id="the-inevitable-creep-of-technology" class="level3">
+            <h3>The inevitable creep of technology</h3>
+            <p>Because this project lives online (welcome to the Internet!), I’ve used a fair amount of technology to get it there.</p>
+            <p>First, I typed all of the objects present into a human-readable markup format called <a href="http://daringfireball.net/projects/markdown/">Markdown</a> by John Gruber, using a plain-text editor called <a href="http://www.vim.org">Vim</a>.<a href="#fn5" class="footnoteRef" id="fnref5"><sup>5</sup></a> Markdown is a plain-text format that uses unobtrusive mark-up to signal semantic meaning around a text. A text written with markup can then be passed to a compiler, such as John Gruber’s <code>Markdown.pl</code> script, to turn it into functioning HTML for viewing in a browser.</p>
+            <p>As an example, here’s the previous paragraph as I typed it:</p>
+            <pre class="sourceCode markdown"><code class="sourceCode markdown">First, I typed all of the objects present into a
+            human-readable markup format called <span class="ot">[Markdown][]</span>
+            by John Gruber, using a plain-text editor called
+            <span class="ot">[Vim][]</span>.<span class="ot">[^5]</span>  Markdown is a plain-text format
+            that uses unobtrusive mark-up to signal semantic
+            meaning around a text.  A text written with
+            markup can then be passed to a compiler, such as
+            John Gruber&#39;s original Markdown.pl script, to
+            turn it into functioning HTML for viewing in a
+            browser.
+            
+            <span class="ot">[Markdown]: http://daringfireball.net/projects/markdown/</span>
+            <span class="ot">[Vim]: http://www.vim.org</span>
+            
+            <span class="ot">[^5]</span>: I could&#39;ve used any text editor for the
+            <span class="bn">      composition step, including Notepad, but I</span>
+            <span class="bn">      personally like Vim for its extensibility,</span>
+            <span class="bn">      composability, and honestly its colorschemes.</span></code></pre>
+            <p>And here it is as a compiled HTML file:</p>
+            <pre class="sourceCode html"><code class="sourceCode html"><span class="kw">&lt;p&gt;</span>
+                First, I typed all of the objects present into a human-readable markup
+                format called <span class="kw">&lt;a</span><span class="ot"> href=</span><span class="st">&quot;http://daringfireball.net/projects/markdown/&quot;</span><span class="kw">&gt;</span>
+                Markdown<span class="kw">&lt;/a&gt;</span> by John Gruber, using a plain-text editor called
+                <span class="kw">&lt;a</span><span class="ot"> href=</span><span class="st">&quot;http://www.vim.org&quot;</span><span class="kw">&gt;</span>Vim<span class="kw">&lt;/a&gt;</span>.<span class="kw">&lt;a</span><span class="ot"> href=</span><span class="st">&quot;#fn1&quot;</span><span class="ot"> class=</span><span class="st">&quot;footnoteRef&quot;</span>
+            <span class="ot">    id=</span><span class="st">&quot;fnref1&quot;</span><span class="kw">&gt;&lt;sup&gt;</span>1<span class="kw">&lt;/sup&gt;&lt;/a&gt;</span> Markdown is a plain-text format that uses
+                unobtrusive mark-up to signal semantic meaning around a text. A text
+                written with markup can then be passed to a compiler, such as John Gruber&#39;s
+                original Markdown.pl script, to turn it into functioning HTML for viewing
+                in a browser.
+            <span class="kw">&lt;/p&gt;</span>
+            <span class="kw">&lt;section</span><span class="ot"> class=</span><span class="st">&quot;footnotes&quot;</span><span class="kw">&gt;</span>
+            <span class="kw">&lt;hr</span> <span class="kw">/&gt;</span>
+            <span class="kw">&lt;ol&gt;</span>
+            <span class="kw">&lt;li</span><span class="ot"> id=</span><span class="st">&quot;fn1&quot;</span><span class="kw">&gt;</span>
+                <span class="kw">&lt;p&gt;</span>
+                    I could&#39;ve used any text editor for the composition step, including
+                    Notepad, but I personally like Vim for its extensibility,
+                    composability, and honestly its colorschemes.
+                    <span class="kw">&lt;a</span><span class="ot"> href=</span><span class="st">&quot;#fnref1&quot;</span><span class="kw">&gt;</span>↩<span class="kw">&lt;/a&gt;</span>
+                 <span class="kw">&lt;/p&gt;</span>
+            <span class="kw">&lt;/li&gt;</span>
+            <span class="kw">&lt;/ol&gt;</span>
+            <span class="kw">&lt;/section&gt;</span></code></pre>
+            <p>For these files, I opted to use John McFarlane’s <a href="http://johnmcfarlane.net/pandoc/">pandoc</a> over the original <code>Markdown.pl</code> compiler, because it’s more consistent with edge cases in formatting, and because it can compile the Markdown source into a wide variety of different formats, including DOCX, ODT, PDF, HTML, and others. I use an <a href="https://github.com/duckwork/autocento/blob/gh-pages/template.html">HTML template</a> for <code>pandoc</code> to correctly typeset each object in the web browser. The compiled HTML pages are what you’re reading now.</p>
+            <p>Since typing <code>pandoc [file].txt -t html5 --template=_template.html --filter=trunk/versify.exe --smart --mathml --section-divs -o [file].html</code> over 130 times is highly tedious, I’ve written a <a href="https://www.gnu.org/software/make/">GNU</a> <a href="https://github.com/duckwork/autocento/blob/gh-pages/makefile">Makefile</a> that automates the process. In addition to compiling the HTML files for this project, the Makefile also compiles each page’s backlinks (accessible through the φ link at the bottom of each page), and the indexes of <a href="first-lines.html">first lines</a>, <a href="common-titles.html">common titles</a>, and <a href="hapx.html"><em>hapax legomena</em></a> of this project.</p>
+            <p>Finally, this project needs to enter the realm of the Internet. To do this, I use <a href="https://github.com">Github</a>, an online code-collaboration tool that uses the version-control system <a href="http://www.git-scm.com">git</a> under the hood. <code>git</code> was originally written to keep track of the source code of the <a href="http://www.linux.org">Linux</a> kernel.<a href="#fn6" class="footnoteRef" id="fnref6"><sup>6</sup></a> I use it to keep track of the revisions of the text files in <em>Autocento of the breakfast table</em>, which means that you, dear Reader, can explore the path of my revision even more deeply by viewing the <a href="https://github.com/duckwork/autocento">Github repository</a> for this project online.</p>
+            <p>For more information on the process I took while compiling <em>Autocento of the breakfast table</em>, see my <a href="process.html">Process</a> page.</p>
+            </section>
+            <section id="motivation" class="level3">
+            <h3>Motivation</h3>
+            <p>Although <code>git</code> and the other tools I use were developed or are mostly used by programmers, engineers, or other kinds of scientists, they’re useful in creative writing as well for a few different reasons:</p>
+            <ol type="1">
+            <li><strong>Facilitation of revision.</strong> By using a VCS like <code>git</code> and plain text files, I can revise a poem (for example, “[And][]”) and keep both the current version and a [much older one][old-and]. This lets me hold onto every idea I’ve had, and “throw things away” without <em>actually</em> throwing them away. They’re still there, somewhere, in the source tree.</li>
+            <li><strong>Future proofness.</strong> By using a simple text editor to write out my files instead of a proprietary word processor, I’ve ensured that no matter what may happen to the stocks of Microsoft, Apple, or Google in the following hundred years, my words will stay accessible and editable. Also, I don’t know how to insert links in Word.</li>
+            <li><strong>Philosophy of intellectual property.</strong> I use open-source, or libre, tools like <code>vim</code>, <code>pandoc</code>, and <code>make</code> because information should be free. This is also the reason why I’m releasing <em>Autocento of the breakfast table</em> under a Creative Commons <a href="license.html">license</a>.</li>
+            </ol>
+            </section>
+            </section>
+            <section id="autocento-of-the-breakfast-table-and-you" class="level2">
+            <h2><em>Autocento of the breakfast table</em> and you</h2>
+            <section id="using-this-site" class="level3">
+            <h3>Using this site</h3>
+            <p>Since all of the objects in this project are linked, you can begin from, say, <a href="in-bed.html">here</a> and follow the links through everything. But if you find yourself lost as in a funhouse maze, looping around and around to the same stupid <a href="dollywood.html">fountain</a> at the entrance, here are a few tips:</p>
+            <ul>
+            <li>The ξ link at the bottom of each page leads to a random article.</li>
+            <li>The φ link at the bottom of each page leads to its back-link page, which lists the titles of pages that link back to the page you were just on.</li>
+            <li>Finally, if you’re really desperate, the ◊ link sends you back to the <a href="index.html">cover page</a>, where you can start over. The cover page links you to the <a href="_toc.html">table of contents</a>, as well as the indexes of <a href="first-lines.html">first lines</a>, <a href="common-titles.html">common titles</a>, and <a href="hapax.html"><em>hapax legomena</em></a>.</li>
+            </ul>
+            </section>
+            <section id="contact-me" class="level3">
+            <h3>Contact me</h3>
+            <p>If you’d like to contact me about the state of this work, its history, or its future; or about my writing in general, email me at [case dot duckworth plus autocento at gmail dot com][].</p>
+            </section>
+            </section>
+            <section class="footnotes">
+            <hr />
+            <ol>
+            <li id="fn1"><p>Which apparently, though not really surprisingly given the nature of the Internet, has its roots in <a href="http://blogs.law.harvard.edu/abinazir/2011/06/15/what-are-chances-you-would-be-born/">this</a> blog post.<a href="#fnref1">↩</a></p></li>
+            <li id="fn2"><p>For more fun with <em>n</em>-grams, I recommend the curious reader to point their browsers to the <a href="https://books.google.com/ngrams/graph?content=technically+refers&amp;case_insensitive=on&amp;year_start=1600&amp;year_end=2008&amp;corpus=15&amp;smoothing=3&amp;share=&amp;direct_url=t4%3B%2Ctechnically%20refers%3B%2Cc0%3B%2Cs0%3B%3Btechnically%20refers%3B%2Cc0%3B%3BTechnically%20refers%3B%2Cc0">Google Ngram Viewer</a>, which searches “lots of books” from most of history that matters.<a href="#fnref2">↩</a></p></li>
+            <li id="fn3"><p>For fun, try only typing with the suggested words for a while. At least for me, they start repeating “I’ll be a bar of the new York NY and I can be a bar of the new York NY and I can.”<a href="#fnref3">↩</a></p></li>
+            <li id="fn4"><p>For more discussion of this subject, see “<a href="arspoetica.html">Ars poetica</a>,” “<a href="howtoread.html">How to read this</a>,” “<a href="manifesto_poetics.html">A manifesto of poetics</a>,” “<a href="onformalpoetry.html">On formal poetry</a>,” and <a href="statements-frag.html#declaration-of-poetry">The third section</a> of “Statements: a fragment.”<a href="#fnref4">↩</a></p></li>
+            <li id="fn5"><p>I could’ve used any text editor for the composition step, including Notepad, but I personally like Vim for its extensibility, composability, and honestly its colorschemes.<a href="#fnref5">↩</a></p></li>
+            <li id="fn6"><p>As it happens, the week I’m writing this (6 April 2015) is <code>git</code>’s tenth anniversary. The folks at Atlassian have made an <a href="https://www.atlassian.com/git/articles/10-years-of-git/">interactive timeline</a> for the occasion, and Linux.com has an interesting <a href="http://www.linux.com/news/featured-blogs/185-jennifer-cloer/821541-10-years-of-git-an-interview-with-git-creator-linus-torvalds">interview with Linus Torvalds</a>, <code>git</code>’s creator.<a href="#fnref6">↩</a></p></li>
+            </ol>
+            </section>
+        </section>
+    </article>
+    <nav>
+        <div class="anchors">
+            <a href="about_backlinks.htm" id="back-link" title="Links to this page">
+                &phi;
+            </a>
+            <a href="index.html" id="cover-link" title="To cover">&loz;</a>
+            <a href="#" id="lozenge" title="ERROR">&xi;</a>
+        </div>
+>>>>>>> 6c4402ed86e4370bac94613fe8a295e3c4829ed5
 
 <section class="content prose">
 <section id="introduction" class="level2">
@@ -28,7 +28,38 @@
 <h1 class="title">On seeing the panorama of the Apollo 11 landing site</h1>
 
 
+<<<<<<< HEAD
 <div class="header-extra">
+=======
+                    <div class="ekphrastic">
+                            <a href="http://apod.nasa.gov/apod/ap141220.html">
+                    <img src="trunk/panorama-apollo11.jpg"
+                                            title="Big deal."
+                                                                alt="Big deal."
+                                                            />
+                </a>
+                        </div>
+        
+        <section class="content verse">
+            <p><span class="line">So it’s the <a href="deathstrumpet.html">fucking moon</a>. Big deal. As if</span><span class="line">you haven’t seen it before, tacked to the sky</span><span class="line">like a <a href="roughgloves.html">rotten hunk of meat</a>, a maudlin love</span></p>
+            <p><span class="line">letter (the <em>i</em>’s dotted with hearts) hung</span><span class="line">on the sky like ninety-eight theses.</span><span class="line">Don’t stare at it like it means anything.</span></p>
+            <p><span class="line">Walk past it quickly, eyes averted.</span><span class="line">Don’t give it the chance to collect meaning</span><span class="line">from your <a href="last-passenger.html">outstretched hand like a pigeon</a>.</span></p>
+            <p><span class="line">Ascribing it a will, calling it fickle, or</span><span class="line">thinking it has any say or even an opinion</span><span class="line">of your affairs is a mistake: it’s separated</span></p>
+            <p><span class="line">from you by three hundred eighty thousand miles</span><span class="line">of emptiness, staring at you blankly like a child</span><span class="line">or your reflection when you found your love broken</span></p>
+            <p><span class="line">in the dark, when time fell apart, broke down,</span><span class="line">started following you around everywhere, <a href="boy_bus.html">moonfaced</a>,</span><span class="line">doggedly asking where you’re going, like you know.</span></p>
+            <p><span class="line">Don’t try side stepping time, either: it’s only</span><span class="line">a river you’re stuck in, <a href="music-433.html">carrying you</a> under the glare</span><span class="line">of the moon nuzzling closer, cooing in your ear</span></p>
+            <p>like a dove that escapes into the empty sky at dawn.</p>
+        </section>
+    </article>
+    <nav>
+        <div class="anchors">
+            <a href="apollo11_backlinks.htm" id="back-link" title="Links to this page">
+                &phi;
+            </a>
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 <h1 class="title">On genre and the dimensionality of poetry</h1>
 
 
+<<<<<<< HEAD
 <div class="header-extra">
+=======
+        
+        <section class="content prose">
+            <p>How does one describe a poem?</p>
+            <p>A genre is a set of creative outputs that fit a given set of criteria. Genres are useful as a sort of shorthand when describing a thing of art: instead of noting, for example, all of the objects depicted in a still-life that aren’t people or land-features, we call it a still-life and get on to describing how the objects interrelate to each other on the canvas. If you ask me what kind of painting I’m working on, and I say, “a still-life,” you have an expectation of certain elements the painting will contain. If you happen to be an agent and try to sell the painting later, you’ll say to your prospective buyers, “It’s a still-life,” and whether the buyer is over the phone or standing in the gallery, they’ll know whether they’ll like it or not based on whether they like still-lifes. In the same way, they can call you up and ask if you have any still-lifes for sale right now, and get a simple yes-or-no answer for it. This is the first kind of genre, and it applies well within separate types of fundamentally-different media, such as painting, sculpture, film, or the written word.</p>
+            <p>A poem, obviously, is in this last category, and for some reason its designation is hairier than others’. People refer to all sorts of art, or even dispassionate events, as poetry; dancing is called “poetry in motion,” for example. I think the confusion is caused in part by the nature of writing as a medium, namely in that it captures thoughts more clearly and communicably than other art forms. While a picture can be “worth a thousand words,” as the old cliché goes, when those words are actually written out they can contain shades of meaning impossible to capture in the picture itself, at least as quickly as they can be absorbed in writing. It seems as though writing is akin to the fundamental nature of thought, or at least of spoken language, which our thought is steeped in.</p>
+            <p>So we know what <em>writing</em> is. What is a <em>poem</em>? Especially in a world with such forms as prose poetry, flash fiction, short-shorts, lyrical essays, <a href="http://www.bartleby.com/39/36.html">lyrical <em>ballads</em></a>, et cetera, what makes a poem a poem?</p>
+            <p>I read an essay once that lamented the unidimensionality of writing. It posited that prose is really just a long, wrapped line of text that’s bound by time—when you read a novel, for example, you really must start at the beginning and read through to the end, in order. Some newer forms of fiction are changing this, such as the Choose-Your-Own-Adventure genre in the 1970s and 80s, or hyperfiction found online, which raises the question for me if these newer forms could be considered on some level to be poetry.</p>
+            <p>This is because poetry has more than one dimension, due to its linear nature—those line breaks are intentional, and the poem can’t just fit into any-sized book or web page. If prose is a liquid, filling any container it’s placed in with a constant volume, poetry is more like a crystallized form of prose, or to put it another way, poetry has between <a href="http://www.vanderbilt.edu/AnS/psychology/cogsci/chaos/workshop/Fractals.html">one and two dimensions</a>. I wouldn’t say that poetry has fully two dimensions, except for some of the more conceptually visual stuff that I’d call a word-picture anyway, because from line to line that unidimensionality of prose remains. Poetry has a higher dimensionality than prose, though, because it’s crystallized there on the page; this fractal-dimensionality of poetry has interesting side effects on the genre itself.</p>
+            <p>For one thing, poetry isn’t as bound by time as prose is. It can, as Marianne Boruch writes, resist “narrative sequence,” or “the forward press of <em>time</em> itself,” due to its repetitions and diversions, which are in turn made possible or more apparent by its line breaks. It’s able to meditate on a subject, or expand on it lyrically, exploring the emotions connected with the images in the poem, or the connections between images. Through repitition of sounds, the poem builds meaning through resonance and rhyming, something that’s harder to do in prose. Take, for example, the first lines of “<a href="http://www.bartleby.com/198/1.html">The Love Song of J. Alfred Prufrock</a>:”</p>
+            <blockquote>
+            <p><span class="line">Let us go then, you and I,</span><span class="line">When the evening is spread out against the sky</span><span class="line">Like a patient etherized upon a table;</span><span class="line">Let us go, through certain half-deserted streets,</span><span class="line">The muttering retreats</span><span class="line">Of restless nights in one-night cheap hotels</span><span class="line">And sawdust restaurants with oyster-shells:</span><span class="line">Streets that follow like a tedious argument</span><span class="line">Of insidious intent</span><span class="line">To lead you to an overwhelming question….</span><span class="line">Oh, do not ask, “What is it?”</span><span class="line">Let us go and make our visit.</span></p>
+            </blockquote>
+            <p>And here it is again, without line breaks:</p>
+            <blockquote>
+            <p>Let us go then, you and I, when the evening is spread out against the sky like a patient etherized upon a table; let us go, through certain half-deserted streets, the muttering retreats of restless nights in one-night cheap hotels and sawdust restaurants with oyster-shells: streets that follow like a tedious argument of insidious intent to lead you to an overwhelming question…. Oh, do not ask, “What is it?” Let us go and make our visit.</p>
+            </blockquote>
+            <p>The end-rhymes that do so much for the sound of the poem are gone, and so part of the meaning of the poem—its obsessive self-consciousness, its paranoia—are gone as well. Additionally, line breaks act as punctuation in the entirety of this <a href="statements-frag.html">fragment</a>; without them, the meaning becomes obscured in the long first sentence of the poem.</p>
+            <p>Perhaps due to this dwelling on scene, or on all aspects of a single scene at one time, poetry tends to be heavy on images, or lyrical. I think this is what’s generally meant when someone describes a dance as “poetic,” or a story or anything else: I think they really mean “lyrical,” or maybe “beautiful.” The images form sort of a narrative as the reader moves through them, as Cesare Pavese says, that’s nevertheless <a href="http://numerocinqmagazine.com/2011/03/07/translation-adaptation-and-transformation-the-poet-as-translator-an-essay-by-richard-jackson/">different than a traditional narrative</a>: this “image narrative” jumps from image to image not by a logical progression but by the resonances between the images that run underneath them, on almost a subliminal plane. Almost without noticing, the reader of a poem is taken on an emotional journey that’s not necessarily connected to the images of the poem, themselves.</p>
+            <p>Poetry is a manipulation of emotion, or a communication of it. Prose has the space, the time to describe what’s going on, even if the author stands by the old adage of “show, don’t tell.” <em>Showing</em> in prose inherently involves more telling than poetry does, as poetry communicates a feeling itself. This definition may be broad enough to include certain dance performances or paintings, but that’s okay. I’m of the opinion that the more useful genre distinctions are those which describe the thing technically: <em>verse</em>, for example, or <em>lyrical</em>. <em>Poetry</em> is almost a value judgement, and that makes me a little uncomfortable.</p>
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+>>>>>>> 6c4402ed86e4370bac94613fe8a295e3c4829ed5
 
 </div>
 </header>
@@ -26,7 +26,7 @@ project:
 | you haven't seen it before, tacked to the sky
 | like a [rotten hunk of meat][], a maudlin love
 
-| letter (the _i_s dotted with hearts) hung
+| letter (the _i_'s dotted with hearts) hung
 | on the sky like ninety-eight theses.
 | Don't stare at it like it means anything.