Divya Venkat Sridhar: “Poetry helps me believe in myself. It is the best feeling in the world—to know that I can create something honest, using words in a way that nobody has done before, and speak my truth.”
Kai Jensen: “I like to (paradoxically) liberate my writing by placing constraints on it (a form, a process). A prompt line narrows and focuses, a bit like a starting block for a sprinter. From this fixed point, how far/wide can I range?”
Image: “Yellow Flowers” by Carla Paton. “For a Robot” was written by Alison Bailey for Rattle’s Ekphrastic Challenge, September 2023, and selected as the Artist’s Choice. (PDF / JPG)
__________
Alison Bailey
FOR A ROBOT
to write a poem
first
it must survive a kindergarten schoolyard trauma, a sunburn on an overcast day,
bury, in a small paper box that once held a bar of soap,
the thumbnail-sized frog that was once a polliwog it caught at Mrs. Anderson’s
pond whose tail fell off and hind legs emerged like quotation marks & had
been kept in the rinsed Best Foods mayonnaise jar
must worry a tobacco-stained grandfather’s hand
run over a jackrabbit on I-40 in the Arizona desert
get divorced
burn dinner
confess its sins
suffer food poisoning
refuse to eat blue M&M’s
hang, on a sweet-breezy July, laundry in Fishtail, Montana—eye the distant Sawtooth
Mountains & hum “Waltzing Matilda” which it learned from Miss Vineyard
in second grade
must fear thunder
rush to focus its binoculars on the wintering Lazuli Bunting
tell white lies to be kind
shout “Heavens to Betsy!”
be part of a standing ovation
endure recurring nightmares
question the crossing guard about the origin of “fingers crossed”
develop calluses as it learns to play the twelve-string banjo
have its hair smell of campfire smoke
swat, during a humid-summer dusk, at mosquitoes on a dock full of splintered
cypress wood at Half Moon Lake in Eau Claire, Wisconsin
forever dislike Brussels sprouts because it overcooked them and they smelled like
Comment from the artist, Carla Paton: “‘For a Robot’ is intriguing and evocative, melding together the realm of human experience with the concept of machine cognition. What makes it so captivating is its detailing of poignant, sometimes mundane moments that cumulatively shape a human life. The poem ponders on the prerequisites for authentic creation, suggesting that a robot must undergo a multitude of sensory and emotional experiences before it can truly create something as intimate as poetry. The assortment of events, from the whimsical refusal to eat blue M&M’s to the somber note of watching the wind weep at a funeral, emphasizes the vast spectrum of human emotions and experiences. It also subtly hints at the idea that even with sophisticated technology, certain depths of feeling and understanding will likely remain exclusive to humans. The poem’s fragmented structure, jumping from one scene to the next, mirrors the fragmented nature of memory and experience, offering a powerful meditation on what it means to be sentient, to live, and to create.”
Bija Gutoff: “It’s not as if I think right away, ‘This experience needs to be a poem.’ But when it shakes me, and keeps echoing, and won’t let me go, the words begin to fall, ripe, ready to be sliced like apples into a pie. Then I have to work it, bake it, share it. Reader, can you picture this? Can you taste it? Have you felt it? Moments of grief, wonder, compassion, the realizations of aging and loss, bring me to my knees, and then to my pen.” (web)
John O’Reilly: “Lorca said he wrote poetry because he wanted people to like him. For a long time, I was charmed by his candor. I’ve come to think of it as poetic candor, with a riddle inside. I write in part to solve that riddle, while I paper the door of my refrigerator.”
D. Dina Friedman: “Prompts open a pathway to new perspectives, whether it’s a shortcut to my own subconscious, or simply an alternate way of seeing.” (web)
