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Marinetti coins a new mode of writing verse: ‘Parole-in-Libertá’ in a 1913 Essay. Parole-in-Libertá will free poets. There will be no more ghost of metre behind a line. It will give way to
“ —Condensed metaphors. —Telegraphic images. —Maximum vibrations. —Nodes of thought. —Closed or open fans of movement. —Compressed analogies. —Color Balances. —Dimensions, weights, measures, and the speed of sensations. —The plunge of the essential word into the water of sensibility, minus the concentric circles that the word produce”
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Describing computers, accelerationist cybertheorist Sadie Plant wrote in 1997: “Today’s parallel processors, intuitive programs, nonlinearities, interactivities, simulation systems and virtualities are finally an acknowledgment of the importance of cross-connections, puns, complexity and chaos. These concepts were previously pathologised as feminine hysteria. Now they are not only fashionable but necessary to create meaning.”
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I conceive of En Dehors Garde poetics that seeks a synthesis between Futurist poetics and Accelerationist thought: obsessed with multilinear, complex thinking, word-playfulness, parallelity. Smitten with the new language granted to us by new technological discoveries. And then, not simply new language, but new ways of thinking! Uniting the so-called cyber skim readers to the material deep readers in meaning and experience. There are new formal possibilities to be found in a dynamic infatuation with these possibilities. En Dehors Garde poets must remain receptive, instead of wary.
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Imagine Loy when she first coined “Stellectric”.
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That’s it, that’s it exactly.
Stellified in the English language.
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Imagine the optimism of advertising in the 90s: cyber-everything! New words, new things, abound! New words combined, on top of, inside of, old wor(l)ds!
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I conceive of En Dehors Garde poetics that rejects the limiting, poisonous aspects of Futurist poetics and Accelerationist thought: realises that words can only ever be truly free when abandoned by the Nationalist impulses of the Futurists: realises forms can only truly be created best through an un-alienated, un-nihilistic inventor. If the poet’s tools are words and forms, they must immerse themselves in having the grandest tool box available for their craft. Otherwise: why write? Why think? And: write. Think.
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When it comes to logic, to knowledge acquisition, to simply inspiration ! a poet must reject the obsession with the line, whether it is straight or exponential. En Dehors Garde poets will embrace the multilinear meanings and possibilities of writing in the NOW, outlined by Plant, Marinetti, exemplified by the kaleidoscopic poetics of Loy. Let there be a poetry of coloured arrows.
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“The last thing I wanted was infinite security and to be the place an arrow shoots off from. I wanted change and excitement and to shoot off in all directions myself, like the coloured arrows from a Fourth of July rocket.”
Sylvia Plath, The Bell Jar :