This week I'll post five, twelve-line blank verse poems shows Gnoetry 0.2 at work with a single text: Kenneth McGaffey's The Sorrows of a Show Girl: A Story of the Great “White Way” from 1908, a collection of stories first printed in the New York newspaper The Morning Telegraph.
One might, with a little nudge, say that this constraint is like having a “Gertrude Stein” key on your keyboard because of the clipped language and repeated phrases. But that would mean the gnoems were mere aper & parodist. & tonal intent can not be the case – Gnoetry is a machine that statistically analyzes human linguistic transcriptions. It cannot parody or ape.
But a human end-user can.
First Sorrow
A trip across the stage. The prima and
the stage. The other with the title of
the menu. We were standing. But the show
herself. A trip. The stage. The chorus girls.
The stage. According to her, you behold
in me the game. The show, a stormy night,
a boob? The other night. The rest. The stage.
The stage. The table at the table at
the table. I, except in truth, the show,
a jug! The second act, rehearsal, so
the other evening. I suppose. The stage.
The morning after that the stage, hurrah.
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"But a human end-user can." So true! It is the combination of potentials (the user's and the program's) that define the Gnoetic process. Also the choice of Working "with" or "against" the machine, i.e. letting the poem develop with a lot or very little struggle / wrestling on the user's part.
ReplyDelete"The table at the table at // the table." Very Steinian for sure. I'm enjoying these sorrows.