What does poetry do? How do you “do things with words?” Does poetry truly “make nothing happen?” How does the answer of the last question change when you make poetry into matter? Is making poetry into matter making “meaning” matter?

Any piece of writing bears scars from the many erased words that did not make it. The many words that didn’t even get put onto paper, but were a flash in the writer’s mind for a split second, before the author decides to infringe upon their own freedom. By bringing those words not only into a print, but into existence as an object, an intriguing line of inquiry is produced. These words I have chosen celebrate option over allegiance to dominant discourse, and blur the line between signified and signified, creating a contested ground in the space occupied by the word itself.



Simple iteration of one aspect of the poem. I’ll give a transcription of the text, but it’s important to note that this transcription does not equal the poem itself.

“Sour grapefruits of my L(eftover fuse mounting bracket capacitor bank input filters)abor extruded through a sieve from furnaces clumsily carving”

Hypnogonic hallucination is a common disorder that occurs while the subject is falling asleep. They might hear, see, or feel hallucinations while transitioning into a sleep state. To me, these hypnogonic hallucinations represent a side of language that is outside any pragmatic function. It does not seek to gain or lose anything from its existence, and is not predicated on agreeing to a certain code. Hypnogonic hallucinations can occur without being concerned with being received by the adressee, and in that way, represent what I am trying to do here with this inquiry. How are these rhythmic utterances which are involuntarily and seemingly randomly chosen from our lexicons poetry? How can they in fact be doing something with words while “accomplishing” nothing?”



A second part that will be attached to the first. I would rather not share this one yet.

Another aspect of hypnogonic hallucinations that intrigues me is the fact that if I model my mode of communication after hynogonic hallucinations, which to me, are neither word nor sound, I get complete freedom and freedom from anxiety about how my poem will be received. The text has been created such that the reader will hopefully find something, but not be in hot pursuit of a meaning, per se.



One of the inspirations for this shape. This is an H comprised of many brands which use helvetica for their proprietary font.



Some of the erased words that went into the margins of mine. Think-marginalia…marginalized..borders…in-between-ness…merge…




Another example of 3d poetry…the page is 3d, but the words are 2d…how does this change its dynamic?