SATURDAY POETRY SERIES PRESENTS: REGIE CABICO

IT’S NOT SO MUCH HIS KISS I RECALL AS HIS VOICE
By Regie Cabico

A shy pebble rippling water. Each phrase
a school of startled ginger fish shimmering
through the telephone line. I’d like to invite
you to my place & immediately I became
a frightened puppy in a tropical rain forest.
Only to my surprise, I was in Brooklyn
reading Lorca in his living room, calmly
sipping tea. He played me Joni Mitchell
crooning the lines he loved & even tried
to sing the high notes. His falsetto cracking
midair as we both laughed. That’s when he
rested a photo album on his lap & pulled
a picture of himself, a young boy swimming
in a Buenos Aires blue reflecting pool. I wanted
to lick the nape of his neck instead said, You’ll
have to teach me how to swim. I’m afraid
of water. That’s when he placed his lips
to mine, our most perfect palates open as we
pulled away to catch our breath.. You have
to be relaxed otherwise you’ll drown. I kiss
him again feeling ribs beneath sweatshirt,
our hearts racing the way a diver freefalls
plunging in a sea of pearls


Today’s poem appears here today with permission from the poet.


Regie Cabico is one of the country’s leading innovators and pioneers of poetry and spoken word having won 3 top prizes in the National Poetry Slams as well as the Nuyorican Poets Cafe Grand Slam. Bust Magazine ranked him in the 100 Men We Love & The Kenyon Review called him the Lady Gaga of Poetry. He received 3 NY Innovative Theater Award nominations and won a 2006 Best Performance Art Production award for his work on Too Much Light Makes The Baby Go Blind. Other theater credits include the Hip Hop Theater Festival, The Humana Theater Festival & Dixon Place. He has appeared on two seasons of HBO’s Def Poetry Jam and NPR’s Snap Judgement. His work is published in over 40 anthologies including Aloud: Voices from the Nuyorican Poets Café, Spoken Word Revolution & The Outlaw Bible of American Poetry. He has taught at Urban Word NYC, Poets House, Kundiman, Split This Rock and has been on the faculty of Banff Arts Center’s Spoken Word Program. Mr. Cabico received the Writers for Writers Award for his work with at-risk youth from Poets and Writers. He is former NYU Artist in Residence for Asian Pacific American Studies. He performs throughout the UK and North America & resides in Washington, DC.


Editor’s Note: I had the pleasure of seeing Regie Cabico perform recently at NYC’s louderARTS weekly reading series. He gave one of the most engaging, entertaining, and raw performances I’ve seen—poetry or otherwise. Mr. Cabico rolls up his sleeves and delves into the theater of the real, exploring queer themes and other matters of the human condition, as thoughtful and honest in his humor and wit as with his tenderness. A true performance artist in his own right, Regie Cabico’s words are as riveting on the page as they are displayed before a riveted crowd, his peacock feathers on full display. After his performance, the drowning of today’s poem stayed with me for days. When asked if he had any books for sale he replied, “Nothing for sale online but my body.” The Lady Gaga of poetry indeed, and then some.

For a real treat, watch Regie Cabico perform today’s poem live.


Want to see more by Regie Cabico?
Inspired Word Performance on Youtube
Three poems at EOAGH: A Journal of the Arts
watch Regie Cabico perform “Capturing Fire” live

Saint Turing: A Few Reflections on Gay Iconography and Martyrdom on the Occasion of Alan Turing’s 100th Birthday

Saint Turing:

A Few Reflections on Gay Iconography and Martyrdom

on the Occasion of Alan Turing’s 100th Birthday

By Chase Dimock

 

This weekend marks the 100th anniversary of British mathematician Alan Turing’s birth. In celebration of his enormous contributions to the fields of mathematics, computational science, cryptology, and artificial intelligence, the scientific community has dubbed 2012 the “Alan Turing Year”, commemorating the occasion with numerous conferences, museum exhibitions, a series of articles on his life in the Guardian and BBC, a Google doodle, and even a functional model of his famous Turing Machine made of Legos. By his mid 20s Turing developed his theory of the “Universal Machine”, thus ushering in the age of modern computer science. A decade later, Turing devoted his studies in cryptology toward cracking the German naval enigma. By developing machines known as “bombes” that could decrypt the messages the Nazis relayed to their U-boats, Turing’s intelligence gathering re-shaped World War II. Historians have argued that cracking the Nazi code shortened the war by two years and saved millions of lives.

Such accolades coming 58 years after his death evidence not only his importance as a historical figure, but also how his ideas continue to influence contemporary research and debate on computer science in our increasingly digitized society. As the “Father of Artificial Intelligence”, Turing’s 1950 article “Computing Machinery and Intelligence” foresaw how rapid advances in information science would produce a future in which the line between human intelligence and artificial intelligence would become blurred. Asking, “can machines think”, Turing postulated that ultimately the true mark of artificial intelligence would be whether or not one could tell the difference between communication with a human versus a machine. Turing’s standards for evaluating artificial intelligence have not only framed the scholarly and ethical debate in the scientific community for the past six decades, but they have also proven to be a prophesy of daily life in the 21st century. Living amongst automated phone banks, internet chatterboxes, GPS navigators, and Apple’s Siri app, everyday life has become a series of Turing tests as we increasingly rely upon forms of artificial intelligence and speak to it as if it were real.

Yet, less emphasis has been placed on the tragedy of his untimely death. In 1952, Turing was arrested and convicted of gross indecency for a consensual sexual relationship with another man, the same 1885 statute under which Oscar Wilde was imprisoned more than half a century earlier. Instead of serving prison time, Turing chose to undergo an experimental hormonal treatment prescribed by the British government. While this chemical castration via a synthetic oestrogen hormone curbed his sex-drive, it had dire side effects. Turing began to grow breasts and developed a deep depression. His conviction also caused him to lose his security clearance, thus barring him from continuing to work with the British intelligence agencies. The man who did as much from inside a laboratory to defeat the Nazis as any general did on the battlefield was now considered a threat to national security solely by virtue of his sexuality. Two years later, on June 8th, 1954, Turing took a few bites from a cyanide-laced apple–an elaborate end designed to let his mother believe that his suicide was actually an accident due to careless storage of laboratory chemicals. In 2009, British Prime Minister Gordon Brown issued an official apology for Turing’s “appalling” treatment, but a 2011 petition to pardon Turing’s conviction was officially denied by the British Government.

While infinitely more qualified scientific minds have written amazing tributes to Turing’s contributions to computer science and mathematics this year, I am interested in what Turing’s life and legacy mean to gay history and queer thought. I first heard of Alan Turing when I was 14 years old and just starting to reconcile my sexuality with the images and stereotypes of gay men in the media. He was mentioned in Time Magazine’s list of the “100 Persons of the Century” and with just a brief blurb on his life and death my concept of what a gay man could achieve and contribute to the world was forever changed. I came of age in an era of unprecedented gay visibility, but the Elton John and “Will and Grace” imagery of an ostentatious, campy gay world did not seem to fit my shy, nerdy bookishness. Although I never excelled in math and science, Turing became one of my first gay heroes because he proved to me that a gay man—a nerdy man, can change the world through the power of his intellect, invent the future, defeat the Nazis, and stand up for his rights.

This brings me to the first of my appeals for Turing’s importance to the modern gay rights movement: Gay nerds deserve a gay icon. In this month of June, the month of LGBT pride, I am reminded of our community’s production of iconography. From Mae West to Lady Gaga, we have been inspired by strong, sexually transgressive women that challenge gender roles and have supported their gay followers. Entertainers have Freddie Mercury, Ian McKellen, and a new generation of young talent like Neil Patrick Harris to look up to. Literary gays like me have Oscar Wilde. Gus Van Sant’s film Milk sold Hollywood on the idea that Harvey Milk was the gay Martin Luther King Jr. and Dan Savage’s “It Gets Better” campaign has launched him as the digital gay guidance counselor for queer teenagers. Yet, no place in the world of gay iconography has been carved for Alan Turing.

As I stood two weeks ago and watched a heavily commercialized gay pride parade trumpet reality TV stars, shill major beer companies, and celebrate banks that crashed our economy, I realized that the notion of gay pride has become more about celebrating the materialism of the present than honoring the past and galvanizing the community toward the cause of social justice for all individuals. This is not to say that we should cut down on the frivolity, merriment, and general debauchery of Pride. One of the most important liberties that the LGBT movement has helped to realize is an expanded right of the individual over the use of his or her own body, including pleasure and bodily expression. Rather, I am arguing for the de-commodification of pleasure (i.e.: using sex to sell) and the integration of the intellectual into sexual. If knowledge is power, and power is sexy, then we must renew our focus on how sexuality informs the genius of an individual like Turing. What made Turing gay and what made Turing a brilliant scientist were not exclusive or accidental traits; they informed and nurtured one another. It is not an accident that the defining essay on artificial intelligence was written by a man who inhabited a human mind that some psychologists and biologists would have deemed degenerate or corrupted by human vice. Rather, it is outsider status—the ability to demystify the “normal” as a gay man, as a nerdy man, that fortified Turing’s genius.

For the balance of this essay I have four arguments for the importance of Turing as a gay icon. The first two are from his biography, what we can learn historically from his persecution as a gay man, and the second two are ways in which his philosophy of determining artificial intelligence have prophesized issues of gender and sexuality in the 21st century. In short, Alan Turing is part martyr, part theorist and an inspiration beyond the sum of those parts.

Turing’s Hormonal Treatment and Sexual Orientation

As mentioned earlier, Turing opted to take hormonal injections as a treatment for his homosexuality in order to avoid a prison sentence. Although the injections curtailed his sex-drive because they amounted to a chemical castration, they did nothing to treat the real root of his homosexuality. The rationale behind the injections conflates homosexual acts with homosexual identity, assuming that annihilating the libidinal desire for sex somehow freed the individual of the effects of homosexuality. In the 1950s, the concept of a sexual orientation independent of all other behaviors was still yet to become universal knowledge. Previously, homosexuality was widely considered a gender disorder. Gender identity was so tied to desire for the opposite sex that it was naturally assumed that a man who would desire another man would have to somehow be a woman on the inside. Homosexuals were often called “inverts”, individuals with the body of a man, but the soul of a woman. Turing, was by most accounts, not particularly feminine and thus he was not legibly homosexual according to the standards of his era. His guilty plea to gross indecency came as a surprise to many because he did not fit the accepted profile of the homosexual.

What we understand today is that a homosexual orientation is more than just an act or an urge. While we know that there is a biological component that predestines most to a proclivity toward attraction to the same sex, gay identity also includes one’s individual history. Same sex desire may be in-born, but the way in which that desire is channeled, what types of men, what kinds of acts, how one thinks of one’s self in relation to other men, and all of the infinite characteristics of our sexuality are products of attachments and affects that we develop over the course of our lives. While the injections may have curbed Turing’s interest in a sexual act, they did nothing to reverse his attachment to men as figures of desire that informed his sense of self and world around him. Turing’s case is a reminder of both the resilience and malleability of sexual orientation and the dehumanization that ensues when we reduce the human mind to a mere organ running on hormones.

Cold War Paranoia and the Problems of Queer Citizenship

Due to his conviction, Turing was stripped of his security clearance and thus he was barred from his work on cryptography with the British intelligence agencies with which he collaborated during World War Two. This revocation of his clearance was not due to having a criminal record, but instead because of fear that his homosexual identity would make him easily corruptible. It is important to remember that Turing’s conviction happened at the dawn of the Cold War. The British government worried that Soviet spies could easily blackmail government agents with shady personal lives. This fear was not unfounded, at least not as a fact. Turing’s conviction came on the heels of the discovery of Guy Burgess and Donald MacLean (both gay) as spies for the KGB. This paranoia was echoed in America with the Red Scare ushered in by the McCarthy hearings and the House Committee on Un-American Activities that sought to root out communists from government positions, the media, and Hollywood. The Red Scare was paralleled by what David K. Johnson terms “The Lavender Scare”, characterized by a series of purges of homosexuals from government offices and renewed enforcement of sodomy laws. Johnson writes:

In popular discourse, communists and homosexuals were often conflated. Both groups were perceived as hidden subcultures with their own meeting places, literature, cultural codes, and bonds of loyalty. Both groups were thought to recruit to their ranks the psychologically weak or disturbed. And both groups were considered immoral and godless. Many people believed that the two groups were working together to undermine the government.

During the Cold War, to be homosexual was not just contrary to social standards or vice laws, but many considered it treason. The homosexual’s morality and physiology had always been in question and now his very citizenship was questioned as well.

Turing’s descent from war hero to potential traitor in less than a decade solely on the basis of his sexual identity dramatically illustrates how deeply society had come to see sexual practices as constitutive of one’s essential identity. Homosexuality signified the complete break from any moral fortitude, leaving the individual not only susceptible to, but also craving of corruption and destruction of all forms, including treason. Turing’s treatment during the Cold War also sheds light on why the modern gay rights movement that developed 15 years after his death was perceived as so radical. If the homosexual’s allegiance to his own nation was in doubt, then seeing gay men exercise their civil liberties as a citizen seemed to be a radical departure from the accepted image of the homosexual. Harvey Milk’s “radical” gay activism, which consisted of public gatherings and running for elected office appeared radical because he was using classic, democratic measures protected by the constitution in order to campaign for civil rights. Turing’s story reminds us that not long ago, the question was not if homosexuals should be granted equal rights to marriage, adoptions, etc., but whether or not they could even be considered loyal citizens.

Gender, Closeting, and Online Communication

In an article from 2010, I used the Turing Test as a way to make sense of a job I once had posing as a female sales agent on an online retail store. What I found fascinating was how when customers typed their questions to me, they conducted their own Turing test to determine if I was real or just a computer program. The fact

that my chats were accompanied by the image of a blonde woman named Jessica attempted to use gender to not only assure them of my humanity, but to use femininity to “soften” internet retail. In reality, “Jessica” was a real person, a marketing ploy, and a computer program all rolled into one. What Turing’s essay on artificial intelligence made me realize is that the difficulty of telling the difference between man and machine resides in the fact that so much of our human responses are practically mechanical—rehashed clichés, talking points, and stereotypes that we employ to make our ideal self legible to and validated by others. Humans try just as hard as machines and in equally artificial ways to prove our humanity. “Jessica” ultimately signifies the co-operation of human and machine to prove “human” to others so as to seem trustworthy and to ease the consumer on the other end into purchasing a product.

Turing’s inspiration for his determination of artificial intelligence was based on a parlor game called “The Imitation Game” in which individuals guess the gender of a hidden individual based on responses to questions. Turing defines it by the following:

“It is played with three people, a man (A), a woman (B), and an interrogator(C) who may be of either sex. The interrogator stays in a room apart from the other two. The object of the game for the interrogator is to determine which of the other two is the man and which is the woman. He knows them by labels X and Y, and at the end of the game he says either ‘X is A and Y is B’ or ‘X is B and Y is A. The interrogator is allowed to put questions to A and B thus:

C: Will X please tell me the length of his or her hair?

Now suppose X is actually A, then A must answer. It is A’s object in the game to try and cause C to make the wrong identification. His answer might therefore be:

“My hair is shingled, and the longest strands are about nine inches long.”

In order that tones of voice may not help the interrogator the answers should be written, or better still, typewritten. The ideal arrangement is to have a teleprinter communicating between the two rooms. Alternatively the question and answers can be repeated by an intermediary. The object of the game for the third player (B) is to help the interrogator. The best strategy for her is probably to give truthful answers. She can add such things as “I am the woman, don’t listen to him!” to her answers, but it will avail nothing as the man can make  similar remarks”.

Turing’s model relies upon the subject of speculation being closeted. This closet, which can be seen by the interrogator, presupposes the content of either a female body, a male body, or in the case of the AI test, a machine or computer of some sort. The ability to detect the contents of the closet depends on the player’s ability to visualize a presence, knowing that something must be there to send the notes. Even when the machine is nothing but a box that can produce a tickertape, we project our sense of agency upon it. Because the mind works with sound images and visual signifiers, we cannot possibly imagine pure information without a visualization of authorship or some origin of the words. Therefore, we must attribute some sense of our selves via personification onto the product that produces the information in order to understand it

With the goal of the game as to fool as many people as possible, gender performativity becomes the ultimate modus operandi for victory. Without the context of voice or handwriting due to a neutral individual or teleprinter reading the responses, the only way to prove gender results from the content and phrasing of the information given. Per Turing’s example, if a woman were to have short hair, it would be in her best interest to lie and talk of long hair if she believes that the audience would expect a woman to have long hair. Therefore, the actual woman may not be bodily woman enough to correspond the signifier of woman formulated in the mind of the interrogator and must perform to what the interrogator pictures as a woman so as to prove her own authenticity

Just as artificial intelligence uses repeated programmed responses contoured around the expectations of the user to appear natural, so too does a woman’s gender appear natural as it countlessly repeats the same gestures and affects that we have come to associate with authentic femininity. The more a gesture is repeated, the more natural it feels until that gesture becomes ingrained in the unconscious as instinctual when it is in fact learned behavior. Thus, gender performance is both an unconscious involuntary process and a tactical employment of signifying acts of masquerade

As a final point, what I find additionally fascinating about the Turing test and the gender imitation game that inspired it is how closely it resembles the forms of online communication that we use to meet others on social networking sites. This is especially true for gay men because we increasingly use gay-targeted sites to meet other gays due to the stigma of meeting in public. Just as the gender imitation game occurs in a closet, so too do chats on a gay social networking site happen in a digital closet. We must make our ideal ego (or at least what we think the other man may want) legible and attractive via online communication. We can send textual descriptions, pictures, and even live chat via Skype, but the interaction we have is always managed to present the self in the most flattering light possible and supported by various forms of (soft) artificial intelligence such as the computer programs that broadcast us and the digital manipulation of photos. The person in Turing’s gender imitation game must prove he is male. In the online game of cyber courtship, we must prove through technology that we are a specific type of male that the other would want.

Turing’s Onion Model and the Queer Mind

One of Turing’s most startling, yet overlooked arguments in the aforementioned article “Computing Machinery and Intelligence” is his questioning of how we define human intelligence and the human mind in opposition to artificial intelligence:

In considering the functions of the mind or the brain we find certain operations that we can explain in purely mechanical terms. This we say does not correspond to the real mind: it is a sort of skin that we must strip off if we are to find the real mind. But then in what remains we find a further skin to be stripped off, and so on. Proceeding in this way do we ever come to the “real” mind, or do we eventually come to the skin which has nothing in it? In the latter case the whole mind is mechanical.

Here, Turing creates a distinction between the anatomy of the brain and its compartmentalized functions and what we may call the “mind” as the psychology of the individual composed of thoughts, emotions, memories, etc. The mechanical functions of the brain resemble the capacities of information storage and the mechanical operations of a machine like a computer. Just like how we know which parts of the brain control certain motor functions, so to do we know the role of each part of a machine and where information is stored on it. Yet “the mind”, which we presume a machine not to have, is not merely the sum of these motor functions and stored information in the brain. The mind is metaphysical; it is a social construction, a product of individual consciousness, and a subjective experience. The mind is an onion because it has no true core; just mutually informing layers of consciousness.

What I am arguing here is that Turing justifies his subjective model of determining artificial intelligence by reminding us that the “mind” that we all have that separates us from the artificial is itself a mysterious, socially constructed concept. The brain is naturally organic, but the mind is as artificial as the language, ideology, and various embodied states of subjective consciousness that we use to understand it and inhabit it. In this process, Turing “queers” the mind. Turing reminds us that there is no such thing as a normal or stable mind that we can access or locate if we just peel away the layers of subjectivity. Instead, this subjectivity defines the mind itself and defines our humanity.

For a gay individual, the demystification of a “normal” or a “real” mind is the key toward dismantling the notion that heterosexuality is the natural state of human sexuality and that homosexuality is an unnatural degeneration. As a function of the mind, homosexuality is as much of an invention of the cultural as heterosexuality (both words that did not exist prior to 1869) and thus both are “artificial” or “unnatural” because they are categories we fabricated to describe and categorize human psychology. To call one man’s mind natural and the other unnatural is to attempt to take human constructions and concepts and somehow force the rules of nature to comply with ideology. In featuring subjective judgment as the determining factor between artificial intelligence and human intelligence, Turing opens the door for an argument that all forms of intelligence and all faculties of the human mind including sexuality are products of subjective reasoning and individual consciousness.

SATURDAY POETRY SERIES PRESENTS: KIRUN KAPUR

ANTHEM
By Kirun Kapur

Love begins in a country
Where oranges weep sweeter
And men piss in the street;

Your hands are forever
Binding dark strands
In a plait. Your mother’s

Childhood friend has steeped your skin
In coconut oil, tucked her daughter beside you—
All night the room is a womb, live with twins.

Heat’s body presses every body. Sharp chop
Of your uncle’s cough clocks the hours; your sister’s
Washing, the rush of your thoughts. Morning is nine

Glass bangles hoisting sacks of sugar
From the floor. I’m not talking
About a place, but a country;

Its laws are your mother, its walls
Are your dreams. The flag it flies
Is your father waving away.


Today’s poem originally appeared in AGNI, and is reprinted here today with permission from the poet.


Kirun Kapur grew up in Hawaii and has since lived and worked in North America and South Asia. Her work has appeared in AGNI, Poetry International, FIELD, The Christian Science Monitor and many other journals and news outlets. She has been a poetry fellow at The Fine Arts Work Center in Provincetown, Vermont Studio Center and McDowell Colony. This year, her work was awarded the Arts & Letters/Rumi Prize for Poetry. She lives in Massachusetts, where she is the co-director of The Tannery Series.


Editor’s Note: Today Kirun Kapur shares with us a beautiful lyric poem, replete with images you can nearly smell and touch. The dialogue between title and text is poignantly framed with the poem’s raw and honest conclusion.


Want to see more by Kirun Kapur?
AGNI
Beloit Poetry Journal
Beloit Poetry Journal Poet’s Forum
Crab Orchard Review
Clapboard House

SATURDAY POETRY SERIES PRESENTS: JASON MYERS

HOTEL ORPHEUS
By Jason Myers

Rain, Eurydice, more rain.
It seems these mountains are married
to cold, damp clouds. I’ve known
no sun here, where you are
not. I sit by this window
and peel the skin from a pear.
Darling, I needed to see you
and now I see rain, hotel porn.
Somebody sent chrysanthemums,
some roses, an orchid. They smell
nothing like you. My nose is wasted
on onions and cilantro’s summer noise.
I won’t cry any more. I won’t wake
in the middle of the night and reach
for the phone to call you.
This rain, how it seems to seethe
like water hissing from the lips
of the kettle, begging one more dance
with Darjeeling. I watch the news
of India, a 70-year-old couple killed
in their hotel room. Didn’t Dickinson say
the world was made for lovers?
Well, she died alone and this pear
tastes like salt. O little town
with your shut-down steel factories,
build me a ship, there is a river
I need to cross with waters so dark
dawn looks like night and my own name
is sung on the waves like a curse.


Today’s poem originally appeared in AGNI, and is reprinted here today with permission from the poet.


Jason Myers grew up in western Maryland, and graduated from Bennington College. He received his MFA from NYU and has also lived in Berkeley, California and upstate New York. A finalist for the National Poetry Series, he currently lives in Atlanta, where he recently received a Master of Divinity degree from Emory University


Editor’s Note: Don’t look back. The unheeded warning that left Eurydice in Hades and Orpheus destined for his own darkness in the world above. But to be human is to look back, and that is what Jason Myers grapples with and succumbs to in today’s poem.

One of the things I love most about lyric poetry is its concern with the same themes humans have been struggling with since before the invention of the oral—let alone the written—word. We have all looked back, despite our best efforts to restrain ourselves.

Beneath the layers of time, of progress, of modernization, there is little difference between the heart of the musician poet who sought to retrieve his lost love from the depths of the underworld and the heart of the man sitting alone in a hotel room in a steel town. Both men know to their cores what Myers means when he says, “there is a river / I need to cross with waters so dark / dawn looks like night and my own name / is sung on the waves like a curse.”


Want to see more by Jason Myers?
Cortland Review
Conjunctions
B H Journal
Terrain.org

Albert Herter

 

Magic and the Link Compliment of the Borromean Rings in America

by Albert Herter

 

A salvo

The Lacanian want-to-be-analyst in America is not unlike John the Baptist who when asked to identify himself said ‘I am the voice of one crying in the wilderness…’  There is a wildness in the cry of those who cannot be but amateurs (in the sense of lovers and without financial benefit) but on the other slope we have the fate of a tamed and harnessed Lacan, in the stable with all the other thinkers waiting to become usable in American universities, servicing the humanities.  One receives a credential with a sigh of defeat.  But despite this wildness the amateurs would like to contribute to the edifice being constructed across the Atlantic, and in South America.  Eventually we would like to build on New York bedrock. 

Marie-Hélène Brousse, during the Paris-USA Lacan Seminar at Barnard College this past September, said that when Lacanian analysis comes to the States it falls flat.  Only in the Arts, specifically directors such as the Coen Brothers, Tarantino, etc., is Lacanian analysis alive and well.  It is alive in so much as it is ‘subversive’ and ‘creative’.  This is in fact my own history, coming from an arts background and education, I found Lacan through a gallery.  I now belong to a reading group that is currently reading Miller’s address to the congress and the group consists primarily of musicians.  There is a dearth of ‘men of letters’ here, no symbolic fortress to support us.  As Lacan already noted during his sojourn in the States – there is a deficiency in the symbolic.  We are adrift in a soup of imaginary phosphorescence, bursting, oozing, continually reconfigured.  No wonder the Health Care Industry compensates with an obsessive reliance on statistics and categories- that makes everything appear impossible.  So this is the field one wishes to practice Lacanian analysis on.  An amorphous threat of litigation is pervasive.  As far as I understand, the bare minimum in order to practice legally is a two-year social worker program.  In some senses two years is not a long time, but in terms of an ethics of desire it is a very long time.  Presumably one learns more than how to call the police if the patient mentions suicide but still.  I considered making analysis my art practice.  At one point I investigated what sort of credential a fortune-teller requires. Perhaps we are the new magicians. W.H. Auden wrote ‘To believe that a world of nature exists, i.e. of things which happen of themselves, is not however invariably made.  Magicians do not make it. ” Just as the Imaginary after the Symbolic is not the same, Magic after Science would not be the same.  One need only conjure up the image of CERN, the 27 km circumference circular tunnel located 100 metres underground with its 2,400 full-time employees searching for the God particle to get a sense of the desperate need to make nature cough up another signifier.

There is a magician in England named Derren Brown who is ‘a performer who combines magic, suggestion, psychology, misdirection and showmanship in order to seemingly predict and control human behaviour, as well as performing mind-bending feats of mentalism’.  He is essentially a cognitive behavioralist suggesting actions to weak-willed volunteers.  In addition to his stage show he has a series where he exposes frauds who claim to speak to the dead or heal the sick.  He keeps company with men like Richard Dawkins.  What I would call the missionaries of science- Brian Greene, Daniel Dennett.  The prevalent magic of today is the magic of suggestion, hypnotism, nudges. Algorithmic magic. Everyone knows that the birth of psychoanalysis was tied to the renunciation of hypnosis.

 

Rogue analysis, Black Market analysis

The practice of Lacanian analysis in America is irredeemably political, at least for the foreseeable future.    

Ego psychology fit very well within the American program of forging individuals, harnessing their desires to the wagon of capitalist growth. A positivism and naivité which wanted to know nothing of lack or castration.  The New Yorker reports that Freud has finally landed on Chinese soil and will hopefully work the same magic, to reinvigorate the engine of endless expansion.  The article asks ‘Does psychoanalysis have a future in an authoritarian state?’  It tells about the suicides of workers at Foxconn factories, which make iPhones and other electronics, and a series of murderous attacks on young children by middle-aged men. According to The Lancet, nearly one-in-five-adults in China has a mental disorder, as defined by the Diagnostic and Statistical Manual of Mental Disorders.  As regards the USA, perhaps Lacanian analysis has no relevance to a country that has not yet experienced a sort of ‘historical narcissistic disaster’.  Which has not yet been truly occupied.  And it may yet be awhile before the ground is fully prepared.

A certain school of thought in physics ends in the many-worlds hypothesis.  One can see in the movie ‘Source Code’ what sort of philosophy this leads to.  Never mind that in this reality you are a war veteran without an abdomen or legs, in another reality you get the girl.  In effect it feeds the fantasm, till it balloons up and competes with the real.  Thus the proliferation of gadgets which are auxillary components to amplify the imaginary and the symbolic.  The real erupts with actual combustion.  Soon it will be our symbols that will be under cyber-attack, our databanks.  What will the ordinary psychotics do when their phones, which are their true supports, are taken away?

I have been enamored with a video since university, which is called “Not Knot” that was made under the direction of Bill Thurston who is at UC Davis and is one of preeminent topologists in the world.  It is essentially a guided tour from Euclidian 2 space into hyperbolic 4-space, specifically a rhombic dodecahedron.  This space is defined by the Borromean rings taken as an axis. Every knot or link, with some simple exceptions, emits hyperbolic spaces.  I will just say that Roger Penrose used to admit a bias towards hyperbolic space in terms of the actual universe i.e. that the cosmological constant was negative.  In fact the rings are shrunk down and disappear to infinity ‘where light can never reach them’.   Perhaps psychosis can be thought of as a flirtation or proximity to the pure zero of the ring.  The neurotics float about in the more or less flat and uniform areas defined by the extremes of the rings.  The idea of the link compliment is a way of deriving one world from the three of the Borromean ring.  There is such a thing as One. This Borromean ring also has some similiarities to Penrose’s twistor (one can see the three rings in the twistor pictured above) which Edward Whitten, one of the premiere string theorists has since taken up with the hope that it may provide an escape from the proliferation of dimensions string theory has required in the past.  Could one say that the knot is on the side of being and the space defined by the knot is on the side of existence?  The videos narrator says the space around the knot is just as real as the knot itself and asks the question ‘What is life like in a space with a single line missing, or in a plane with a single point removed?’

Miller ends his rumination at the congress on Oedipus at Colonus, which was Sophocles last play written when he was eighty-nine years old and only performed four years after his death.  The Peloponesian Wars between Athens and Sparta had persisted for twenty-five years at the time the play was written.  It was a tribute to his birthplace.  Fitzgerald’s commentary reads ‘Oedipus has indeed endured his suffering with courage, but it is not until he has acted, and acted as the agent of divine justice, that the passionate man is fit to embody and to symbolize human divinity.’  ‘His rage and sternness in his last hours are the means of an affirmation.’  In New York we wondered if this was the harbinger of the end of psychoanalysis proper.

Andreas Economakis

“Moon Fish”
(photo by Andreas Economakis ©2012)
  
THE LETTER B

when you find yourself avoiding
the letter b in your address book
when your heart feels a foot deep
in heavy liquid
you catch yourself 
alone on the couch
unable to move on
though its been 2 years
cracked pieces on the floor
pissed off at yourself
needing a sorry,
what a sorry ass you are
drowning your thoughts
in booze and work and books
and mindless little things
that no matter what
don’t let you escape
you’re forever in a loop
you reach out and touch the image
and it repeats itself
ad nauseum
ending with the ugly part
until you find yourself
on your couch
looking for an answer
to a question that was never asked
an answer that was never given
a hand that was never held
lips that moved away
eyes that turned to ice
a song you miss hearing
and you ask yourself
why
must I be like that
why
can’t I be like the rest
why
must I be like the rest
and you sit
and wonder
what would it have been like
and you find yourself unable
to escape from yourself
for one minute
a prisoner of the past
in a future already written
wanting so bad to say
I love you.
 
-Andreas Economakis
 
This piece is part of a collection of words on blindness entitled: The Blindness of Life. The author is not a poet.
 
Copyright © 2012, Andreas Economakis. All rights reserved.
 
For more stories by Andreas Economakis click on the author’s name below.
 
 

Elias Khoury’s Little Mountain


By Karim Abuawad

Written by the Lebanese man of letters Elias Khoury, Little Mountain (al-jabal al-saghir 1977) is a novel set during the early phase of the Lebanese Civil War, a war that lasted from 1975 to 1990. Paradoxically, the civil war in Lebanon has had a tremendous impact on Lebanese literature as it generated an unprecedented number of new works which were influenced by it, so much so that the civil war has been characterized as the “midwife” of the Lebanese novel.

The appearance of these novels about the civil war, which were written from the perspectives of those who fought the war as well as those who were devastated by it, is now considered to be a threshold for the start of fully fledged experimentation in the Arabic novel, or, to put it in generic terms, from the realist mode to the experimental one. Although this experimentation in form can be traced back a decade earlier, to writers such as the Palestinian Ghassan Kanafani (especially his formal experimentation in All That’s Left to You), it is with appearance of these civil war novels that this mode of experimentation became normalized, or more accepted. Therefore, Little Mountain has come to occupy a special position on the trajectory of the Arabic novel’s development. Given that the century-old Arabic novel is a relatively new form within the much larger Arabic literary tradition, the importance of this movement from the more or less traditional realist mode to the experimental cannot be understated.

In an essay entitled “After Mahfouz,” Edward Said describes Little Mountain as the first departure from the style of novelistic writing that dominated the Arabic novel for much of the twentieth century. While it is an overstatement to claim that this novel is the “first departure,” I think the general gist of Said’s characterization is accurate in that it symbolically points out (as the title of the essay suggests) that Khoury’s novel marks the break with the realist style which the Nobel Laureate Naguib Mahfouz had mastered, or even perfected, as some would have it. Writing about this break that he locates between Mahfouz and Khoury, Said says that “from this perspective Khoury’s work bids Mahfouz an inevitable and yet profoundly respectful farewell.”

* * *

It would be somewhat misleading, however, to say that Little Mountain is about the Lebanese Civil War. A more accurate way to describe it would be that it centers on the experience, told from hindsight, of an individual who gets implicated in this most horrible of wars. The novel tells the story (or to put it more accurately, the ramblings) of a fighter who has chosen to join the ranks of the fiddayyin, a group comprised of Palestinians and their supporters which fought in the civil war, despite the fact that this group fought against the Christian militias which were supposed to protect the interests of the minority to which the narrator belongs. Right from the outset, we come to understand the novel’s main narrator as someone out of place, as someone who positions himself outside of the locality to which he was assigned by virtue of being born in a certain neighborhood and to a certain family.

This, of course, is never spelled out explicitly in the novel. We come to understand the precarious position of the narrator (who is never named) from the choices he makes and from his decision to affiliate himself with one group over another. To put it succinctly, his position is based on affiliation rather than on filiation. The difference between the two, of course, has great implications to the formation of the self as this makes such formation reliant on an ethic of movement or becoming rather than on that of being. Crucially, these decisions are never explained ethically or ideologically. While they certainly have these elements built into them, they are part of an underlying scheme rather than part a manifesto-like, simplified explanations.These choices come to define the narrator’s private narrative as well as the larger narrative that he chooses to become part of. In a situation such as a civil war, choices are not a luxury, but a necessity.

In “After Mahfouz,” Said discusses some of the crucial aspects of Khoury’s style vis-à-vis the formation of selfhood. “Style in The Little Mountain” he writes,

is, first of all, repetition, as if the narrator needed this in order to prove to himself that improbable things actually did take place. Repetition is also, as the narrator says, the search for order—to go over matters sufficiently to find, if possible, the underlying pattern, the rules and protocols according to which a civil war, the most dreadful of all calamities, was being fought. Repetition permits lyricism, those metaphorical flights by which the sheer horror of what takes place…is swiftly seen and recorded, and then falls back into anonymity.

The point Said makes via the narrator about repetition is quite illuminating. For him, repetition is not the opposite of order. Rather, repetition is a search for order in a situation in which order is obliterated by a chaos that has become part of the mundane, everyday reality. The paradox Said points to shows us that even in the chaotic form that Khoury creates, there is an underlying desire to seek an order that could possibly mitigate the traumatic experience of the individual. From this standpoint, the traumatized subject constantly seeks a fleeting order even when the subject appears to do anything but seek such order.

To illustrate some aspects of the style that Said mentions here, it might be useful to start at the beginning. That is, to start with a passage that appears in the first few pages of the book, and which gets repeated time and time again throughout the loosely connected five chapters of this novel. In fact, the constant repetition of this passage also illustrates the hyper-episodic narrativity, or the utter inexistence of causality, in this novel.

Spoken by the main narrator, the passage gives us crucial clues about the style in which the novel is written, but, more importantly, about the narrator’s choice of affiliation. He says:

Five men came, jumping out of a military-like jeep. Carrying automatic rifles, they surround the house. The neighbors come out to watch. One of them smiles, she makes the victory sign. They come up to the house, knock on the door. My mother opens the door, surprised. Their leader ask about me.
–He’s gone out.
–Where did he go?
–I don’t know. Come in, have a cup of coffee.
They enter. They search for me in the house. I wasn’t there. They found a book with Abdel-Nasser on the back cover. I wasn’t there. They scattered the papers and overturned the furniture. They cursed the Palestinians. They ripped my bed. They insulted my mother and this corrupt generation. I wasn’t there. I wasn’t there. My mother was there, trembling with distress and resentment, pacing up and down the house angrily. She stopped answering their questions and left them. she sat on a chair in the entrance, guarding her house, as they, inside, looked for the Palestinians and Abdel-Nasser and international communism. She sat on a chair in the entrance and they made the sign of the cross, in hatred or in joy.
They went out into the street, their hands held high in gestures of victory. Some people watched and made the victory sign.

From the repetition of the sentence “I wasn’t there” we come to understand two key notions about the way the self is constituted in Khoury’s novel: chaos and absence. The self is first and foremost constituted by absence, an absence that is not complete, but rather an absence from its designated place. We should remember that the narrator is never named, and this perhaps is the ultimate absence, an absence from one’s own narrative. Such elision cannot be taken lightly as it highlights a crucial choice on the part of the novelist, a choice to make out of an absence a disfigured and incomplete presence.

Thus, the only thing that is captured of this narrator is a chaotic and disfigured narrative about an incomplete, incoherent life: episodes from a sheltered, confused childhood in the predominantly Christian neighborhood known as “little mountain,” episodes of street fighting without an apparent objective or justification, and finally a short episode about the fighter’s time in Paris where he goes to be treated of his wounds.

Narration in Little Mountain, then, is always an organizing principle, regardless of the form (or lack thereof) it takes. In Khoury’s novel, the principle of chaos or chiasmus (depending on the generosity and patience of the reader) becomes the device through which the self makes sense of itself as well as of the incoherence in the midst of which it happens to be.

Notes:
Khoury, Elias. Little Mountain. Trans. Maia Tabet. New York: Picador, 2007.
Said, Edward. “After Mahfouz” in Reflections on Exile and Other Essays.

SATURDAY POETRY SERIES PRESENTS: KATHERINE LARSON

STUDY FOR LOVE’S BODY
By Katherine Larson

I. Landscape with Yellow Birds

The theories of Love
have become tremulous and complicated.
The way snow falls or Saturn revolves
repeatedly around some distance
where space is nothing
yet still something that separates.

Never mind time. Caterpillars
have turned the fruit trees
into body bags. The children paint
the mandibles of fallen ones with
silver meant for nursery stars.
Without the immense responsibility
of sympathy, these small deaths
are nothing more than
artifice. Like a single magnolia
in a cut glass bowl
we have no idea where
our roots went so suddenly.

II. Architecture in Ruins

Third floor of the doll factory,
ferns suck carbon
and sharper chemicals from air
near the women working.

They’re hunched over tables
of warped wood.
Half of everyone is painting
eyes and lashes on porcelain heads, the rest
are threading hands to sleeves.

Outside in the courtyard
a smattering of doves rise.
Have you ever wanted to
kiss a stranger’s hands?

III. Gardens Without Bats or Moss

Gauguin writes to Theo van Gogh that in his painting he wants to suggest
the idea of suffering—without ever explaining what kind.

IV. In Stone Archways

The light is spilt green milk, which is languorous
as the red monkey Gauguin painted

by the brown body of Anna
the Javanese. At the Chinese Market

I buy two red teacups and a can
of coconut milk. I think—

Gauguin wouldn’t know
how Anna loved that monkey

and sang to him late at night.
Everywhere the sea screams

at me. A great pink slab of octopus arm,
beside it, babies seasoned in orange spices.

Such symmetry! Surely they swam
through the night like thirsty

flowers. I think you had it right
when you said love is the mathematics

of distance. Split like a clam on ice,
I feel raw, half-eaten. I rot

in the cold blue of the ego,
the crushed velvet of Anna’s chair.


Today’s poem is from Radial Symmetry (Yale University Press, 2011) by Katherine Larson (copyright 2011 by Katherine Larson), and is reproduced by permission of Yale University Press.


Katherine Larson is the recipient of a Ruth Lilly Poetry Fellowship, Kate Tufts Discovery Award, and Union League Civic and Arts Foundation Poetry Prize. She lives in Arizona.


Editor’s Note: Katherine Larson’s poetics lie in the fertile crossroads of poetry and science. Inner discovery gives way to the biological, micro gives way to macro, and so on until the reader finds herself woven into a web of language and imagery. At once disorienting and familiar, the end effect is appreciation of the natural beauty artfully wrought. Galactic leaps are made between concepts as large as space, time, and love, while each giant stride is written on the small space of the heart. “[S]pace is nothing / yet still something that separates. / Never mind time,” Larson posits, concluding that, “I think you had it right / when you said love is the mathematics / of distance.”


Want to see more by Katherine Larson?
Buy Radial Symmetry
Poetry Foundation
PBS

Button

Button

by Maggie Smith

It’s the 50s. You wear your dark Levis
cuffed up six inches. You have a cowlick.

There is a birthday party you won’t attend
after a bad haircut. Your mother says,

Button, it’s not the end of the world.
But the weathervane says, Button,

the end is near. It says the sky’s gone
yellow with twisters. Small white stars

are invisible all day, but you hear them
chatter like teeth. Button, they say, why

not play with the others? Look at them,
having a fine time. But you wish the devil

on the neighbors. You wish them nothing
to pin the tail on. You wish the children

snatched up in the funnel, paper punch
cups still in their hands. The devil won’t

call you Button. He says if you must
be haunted, at least be unashamed.

***

Maggie Smith is the author of Lamp of the Body (Red Hen), Nesting Dolls (Pudding House), and The List of Dangers (Kent State). She has received fellowships and awards from the Academy of American Poets, the Ohio Arts Council, the Virginia Center for the Creative Arts, and the National Endowment for the Arts. She blogs for The Kenyon Review and works as a freelance writer and editor. You can find her online at www.maggiesmithpoet.com.

[The above poem appeared in Lamp of the Body and is reprinted here by permission of the author.]

SATURDAY POETRY SERIES PRESENTS: BRUCE WILLARD

PERENNIAL
By Bruce Willard

I was tired of wanting,
tired of morning,
tired of the way the ocean waits
for the sun to set.

I was tired of thawing,
tired of spring.
Tired of hoping
bulbs would rise.

And when they did,
I was tired of the longing
sexual smell of the earth,
so expectedly ugly
and eager

that there was nothing
left to want.



Today’s poem originally appeared in AGNI, and appears here today with permission from the poet.


Bruce Willard’s poems have appeared in African American Review, AGNI Online, Harvard Review, Mead Magazine, Salamander, 5 A.M. and other publications. His new collection of poems, Holding Ground, is due out from Four Way Books spring of 2013.

Outside of his work as a poet, he works in the clothing and retail business. He is a graduate of Middlebury College and received an MFA from Bennington’s Writing Seminars in 2010. He divides his time between Maine and California.


Editor’s Note: Lyric poetry has a rich history that stems back to the very origin of the craft. Its success depends upon musicality, on meter and sound. The subjects it explores—love, life, death, sex and sexuality, lamentation, divine invocation, suffering and joy—are the same today as they were thousands of years ago. These themes are explored because they resonate with what make us human, evoking emotion and reminding us that life experiences are shared. Today’s poem thrives in the lyric, comprised of sounds that recall song, and communicating the inner workings of man that are as unique as they are universal.


Want to see more by Bruce Willard?
Mead Magazine
Project Muse
Connotation Press
Tupelo Press