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March 21, 2008 KR Blog Uncategorized

Teaching the Machine to Write Poems

There’s this big brouhaha over at the Poetry Foundation about Reginald Shepherd’s post about intentionality, which I will not jump into except to extract this snippet from Michael Robbins, who writes, “If a computer runs a program that produces grammatical sentences at random, we do not ask what those sentences ‘mean,’ for we know the computer cannot ‘intend’ anything by them,” which I think is kind of pessimistic. I’d like to argue for degrees of intentionality (and consciousness), but lack the rhetorical skills, so thought that instead I’d put together a sampling of language-making machines or systems.

If you go to The Creative Language System Group site, you can play around with a bunch of their projects, including ZeitGeist, a neologism generator (yellow + dome = xanthodome!), and Sardonicus, a simile-finder. (The ironic category tends to produce more interesting results.)

Side-note, not a machine, but possibly a system–Sardonicus reminded me of an article I read a little while ago, David Fishelov’s “Poetic and Non-Poetic Simile: Structure, Semantics, Rhetoric.” Fishelov suggests that the four aspects of a “non-poetic simile,” topic, ground, simile marker, and vehicle, provide the basis from which to deviate and create a “poetic simile.” In his example, “John is eating like a pig,” the topic is “John,” the ground is “is eating,” the simile marker is “like,” and the vehicle is “a pig.” Fishelov lists eight principles whose violation produces a (not necessarily “successful”) poetic simile. For example, a violation of the length principle could lead to “John is eating like a pig at a trough full of apples which shine and bob in the surrounding filth.” My favorite example, though Fishelov disowns it as “strange, incoherent, and difficult to apprehend,” is, “Like the Pentagon–her eyes are square.” I would love to see someone write a program for this.

If you’re looking for a program that seems slightly closer to having consciousness, you should go talk with Jabberwacky. Tony Tost did, with excellent results:

Jabberwacky: Tell me about yourself!

User: I am a minor regional poet.

Jabberwacky: No, you’re not.

User: I am a minor regional blogger.

Jabberwacky: And I’m a major, now take this beer.

User: Thanks!

Jabberwacky: We’re all ok!!!!!!!!!!!!!!

User: Mommy’s alright! Daddy’s alright!

Jabberwacky: Who do you think you’re fooling?

User: Only myself, and other poets.

Jabberwacky: There are 10 others, apparently.

User: That’s what Harold Bloom says.

Jabberwacky: That’s good. It is good to have friends.

Then there’s the ever-entertaining Googlism, essentially an anaphora-generator, which has just informed me that:

spring is finally here may 15 2001
spring is sprung
spring is not
spring is colorful and sexy at the house of versace
spring is here
spring is late
spring is the period express from god
spring is here and the bison are migrating back into the park
spring is back
spring is the time for new year’s resolutions
spring is here”
spring is springing earlier
spring is coming
spring is busting out
spring is best time to plant a smoke tree
spring is the time for rivers to flood
spring is poem
spring is just around the corner and wouldn’t
spring is 100% minority owned source for wire forms
spring is friggin
spring is worth a mint
spring is here?
spring is in the air and with it comes
spring is springing
spring is like a perhaps hand
spring is
spring is sure to come

The Kenyon Review was founded in 1939. The resources for the new literary journal were provided by Gordon Keith Chalmers, President of Kenyon College, while the inspiration to establish the journal and raise the national stature of the institution had come from his wife Roberta Teale Swartz, herself a poet and a friend and protege of Robert Frost. Frost encouraged the idea and visited Kenyon more than once. The poet and critic John Crowe Ransom was recruited to Kenyon by Chalmers with the express purpose in mind of his launching a distinguished magazine. During his 21-year tenure, Ransom published such internationally known writers as Allen Tate, Robert Penn Warren, William Empson, Mark Van Doren, Kenneth Burke, and Delmore Schwartz, as well as younger writers: Flannery O'Connor, Robert Lowell, and Peter Taylor, to name a few. It was perhaps the best known and most influential literary magazine in the English-speaking world during the 1940s and '50s. In 1969, discouraged by the quarterly's financial burdens and sagging reputation, Kenyon College ceased publication of The Kenyon Review. The journal was revived in 1979, and in June 1990, internationally acclaimed poet and editor Marilyn Hacker was hired as the Review's first full-time (and first female) editor. She quickly broadened the quarterly's scope to include more minority and marginalized viewpoints. In April 1994, the trustees directed that The Kenyon Review be continued, but with significant cost-reducing and revenue-enhancing initiatives. Hacker left and David Lynn (acting editor in 1989-90), Kenyon English professor, was named editor on a two-thirds time basis. The magazine's financial picture has since stabilized and improved dramatically. The creation of a Kenyon Review Board of Trustees and a renewed commitment by Kenyon College combined to guarantee the financial health of the Review and to free its editors to pursue increased excellence. Such is the status of The Kenyon Review today.