As a child, Horace Walpole frequently heard it said of himself that surely he would die soon. Born in England in 1717, the last of his mother’s six children, he was fragile and prone to illness from birth. Two siblings before him had died in infancy, and so in the family order it went: three older children, loud, healthy and opinionated; two grave markers; and then young Horace toddling up behind—half child, half potential grave marker.
Naturally, his mother, Catherine, spoiled him. His father, Sir Robert Walpole, was the King’s prime minister. This often kept him away from home, as did a long-time mistress who acted, more than his wife did, as his hostess and companion. For her part Catherine had her own dalliances. It was that sort of marriage. The Walpoles…
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Don’t gesticulate with your hands or make faces when speaking, the teachers at my British boarding school told me. It’s vulgar. I’m sure that this enjoinder at such an impressionable age imbued my poems with reticence and austerity.
But poetry has a body language. The poet’s way of breathing supplies oxygen to the body and to the poem. The poet’s way of walking and talking is inherent in the poem. I knew a poet who walked like the prow of a ship cutting through waves, the bone in its teeth, as sailors say, and that how her poems walked and talked.
The body language of a poem is also shaped by the script used in its writing. If it was first written by hand the poet’s hand, the stops and starts, the way I’s are dotted and t’s crossed, lives in the poem. If the poem was first typed, the…
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Editor’s note: This poem kicks off a new “Question Worth Asking” series: “How weird will the future be?” First up: a piece from poet and TED Fellow Ben Burke.
[Dear Helen- So sorry. Didn’t have time to write that poem. But my future self sent me one yesterday. So we’re good. Crazy, right? It’s totally legit and actually from the future, so no need to double-check, you’re probably too busy anyway. Happy New Year! – Ben Burke]
THE TRANSHUMANIST’S LAMENT
TOO MANY RIVERS, NOT ENOUGH LAKES
OH, FUTURE — YOU SO CRAZY
I arrived in the basket that was weaved here before me
And I stayed in any place with a roof that would store me
I have lots of belongings
But didn’t pack for the trip
I got here, they put pants on me
And then the world gave me the slip
I’ve lived as slowly as…
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‘Software is eating the world!’ US tech luminary Marc Andreessen declared in 2009, on the eve of launching his venture capital firm, Andreessen-Horowitz. This extraordinary claim has become the mantra of Silicon Valley startup entrepreneurs, codifying a new philosophy of tech entrepreneurialism and kickstarting a bold new era of ‘creative destruction’. Decoded it means: software engineers are world-builders – so look out! Bored with building apps, games, and websites, the latest generation of tech entrepreneurs are creating social operating systems for the societies and economies of the future. Take the sharing economy startup Airbnb, for example (recipent of $112 million in funding from Andreessen-Horowitz in 2011). Andreessen claims:
Airbnb makes its money in real estate. But … Airbnb … has much more in common with Facebook or Google or Microsoft or Oracle than with any real estate company. … Airbnb is building a software technology that is equivalent in complexity, power, and importance to an operating…
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I want to, but it’s hard to tell a lie;
by the crumbs on my shirt,
and the feeling that I’m made of dirt,
I think we both know what happened:
I absolutely demolished your pie.
There, in the fridge, I caught a glimpse
of that pie; was it apple? I can not tell.
I just dove right in, gave my stomach hell.
Do I regret this?
It was delicious, sweet, full of bliss;
why was it so good?
I think I know why:
it was yours, it was not mine,
and since I do not like you,
that pie became divine.
— Jackson Williams.
if you forget me.
I want you to know
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
toward those isles of yours that wait for me.
if little by little you stop loving me
I shall stop loving you little by little.
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
if each day,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.
— Jackson Williams.
Dénouement: the final outcome of the main dramatic complication in a literary work; the outcome of a complex sequence of events; the end result
Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.
In 1846, a year after “The Raven” was published, Edgar Allan Poe wrote “The Philosophy of Composition”, a prose essay explaining his famous poem. A friend and former employer of Poe’s, George Rex Graham (who had declined to be the first to print “The Raven” — a poem he didn’t like — the previous year), would publish the essay…
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