alas, this is the tragedy of living:
slow dancing with compliancy
in a lavender haze,
embracing deceit
in a velvet green smog,
kissing the lipless
under a withering mistletoe,
…..IDK WHAT ELSE TO SAYYYYY
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first read on @exitmusicfrafilm’s post about 2023
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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Dunya Mikhail, from Diary of a wave outside the sea (trans. Elizabeth Winslow and Dunya Mikhail) [ID'd]
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Just a pair of friendly sorcerers out on a stroll~
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louise glück was an tremendous poet in her own life and also taught, advised, and nurtured uncountable other poets. her picking richard siken’s crush for the yale younger poets prize is a well known fact, but she selected a number of other poets for publication during her tenure as the contest judge that i think are worth knowing.
peter streckfus, cuckoo (2003)
richard siken, crush (2004)
jay hopler, green squall (2005)
jessica fisher, frail-craft (2006)
fady joudah, the earth in the attic (2007)
arda collins, it is daylight (2008)
ken chen, juvenilia (2009)
katherine larson, radial symmetry (2010)
poetry is a community! read her—and also read the poets she wanted to promote.
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Blessed Be by Sol Rios, published in Ghost of my Ghosts
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call me an old soul, but I find peace in nature, nights, moon, sunsets, breezes, books, poetry, flowers, the smell of rain, and people who feel like hug
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A book that doesn’t mention my language or my country, and has maps of every place except for my birthplace, as if I were an illegitimate child on Mother Earth.
Borders are those invented lines drawn with ash on maps and sewn into the ground by bullets.
— Mosab Abu Toha, from "Palestine A–Z," Things You May Find Hidden in My Ear
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What if I lose my eloquence? // If the ink that stains my fingers rubs off in the rain, // And the words stop leaping from my lips and kissing dingy tissues in a ketchup stain red // Would it be sacrilegious to say that I’m a painter of words? // Can I still call myself an artist if the only composition I spit out is my coffee order in the morning // “One coffee, no cream no sugar please” // Which is barely an original thought. // What if the scraps from the words I’ve managed to string together start to fall apart and melt at the barest brush of my fingertips // Oh god what if I lose my muse. // If the flush in his cheeks vanish as our gazes cross paths // And if he asks to take back the letters he strung together for me to hang on my basement wall // Would it be embarrassing to ask to keep them? // Can I still call myself a musician if the only notes I play are to the tune of Happy Birthday // “CCDCFECCDCGFCCCACEDBbBbAFGF” //And although my limbs are still jaunty and awkward //And my spectacles never seem to sit right along the bridge of my nose // I wonder if perhaps I’ve run out of words.
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i'm on a daily poem email list and this was yesterdays poem and I cant stop thinking abt it. possibly my new fave so everyone has to read it.
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deltarune as posts i’ve seen around tumblr PART THREE
part one
part two
part three you are here
part four
part five
part six
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Dark coat
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Marina Tsvetaeva, from "My ear attends to you", Selected Poems (trans. Elaine Feinstein, with Maxwell Shorter)
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“I am afraid of getting older. I am afraid of getting married. Spare me from cooking three meals a day— spare me from the relentless cage of routine and rote. I want to be free... I want, I want to think, to be omniscient.”
-Sylvia Plath written in 1949 at age 17
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