Which permutation of lines yields the best poem?

     A fascinating article about poet Jericho Brown (by Allison Glock in Garden and Gun magazine) reminded me of the vital role of line-arrangement in creating a poem.  (Emory University professor Brown has won the Pulitzer Prize in poetry for his collection The Tradition  (Copper Canyon Press, 2019)).
      Glock's article, "Jericho Rising," tells of various factors that have influenced Brown's poetry and describes his process of arranging lines, typed on separate strips of paper, into poems.  Three of the lines shown in the article are:

       What is the history of the wound? 

  We'll never see their faces or know their names.      

       And a grief so thick you could touch it.

Playing with permutations of the nouns of a poem

     Founded in 1960, OULIPO  (short for French: Ouvroir de littérature potentielle) has been active in the exploration of the effects of constraints or arbitrary rules  in the production of literature.  
          Developed in the 13th century, the sonnet 
                   (with 14 lines, 10 syllables per line and a prescribed rhyme scheme) 
                       is a well-known member of these "constrained" forms.  The Haiku is another.
     Published in 2005, the Oulipo Compendium, Revised and Updated (edited by Harry Mathews and Alastair Brioche, Make Now Press, Los Angeles) contains definitions and examples of a large variety of rule-following writing.  On page 173 we find some interesting comments about language by French poet Jean Lescure (1912-2005):
     " . . . Lescure remarks that we frequently have the impression 
          that language in itself  'has something to say' and that nowhere 
          is this impression more evident than in its possibilities for permutation.  
          They are enough to teach us that to listen we must be silent; 
          enough to transform a well-oiled bicycle into a well-boiled icicle."   

How Old Is the Rose-Red City?

     Most of Martin Gardner's fans are avid puzzler's -- my connection with him is also one of admiration (he was a thoughtful person who was a master at making connections among disparate things) but we are connected via poetry, including topics such as counting all possible rhyme schemes for a given stanza and the constraint-based poetry of OULIPO . . ..
     Gardner (1914-2010) was not a poet -- although he penned a quatrain or two, his great contribution was collecting and publicizing parodies and puzzle-verses by others.  Here is a link to Gardner's collection of poetic parodies, and here is a link to many of Gardner's puzzles, including the stanza below, "How Old is the Rose-Red City?" 

The answer is NO

This past weekend I have much enjoyed reading Mathematics:  a novel  by Jacques Roubaud  (Dalkey Archive Press, reprint 2010, translated from the French by Ian Monk); Roubaud is a mathematician, poet, and member of the OULIPO.  And here is a found poem from Chapter 1:
.
          A
          question
          posed to a
          lively colleague:

          do you tell your
          dancing partners
          that you practice
          mathematics?

For me, like so many of us -- females especially -- revelation of a connection to mathematics leads to an awkward moment, an impediment to a possible relationship.  And so we say things like "I am at the university" or "I am doing some writing" or . . .

Martin Gardner collected poems

     Last week the Mathematical Association of America (MAA) had a special program honoring Martin Gardner (1914-2010); tomorrow (October 21) is the 100th anniversary of his birth.   The shelving in the MAA meeting room displayed copies of many of Gardner's approximately one hundred books.  However, none of the books displayed were books of poetry and, indeed, Gardner referred to himself as "an occasional versifier" but not a poet.  Nonetheless he helped to popularize OULIPO techniques in his monthly (1956-81) Scientific American column, "Mathematical Games," and he also was a collector and editor of anthologies, parodies, and annotated versions of familiar poetic works.  Here is a link to his Favorite Poetic Parodies.  And one may find Famous Poems from Bygone Days and The Annotated Casey at the Bat and half a dozen other titles by searching at amazon.com using "martin gardner poetry." 

A Vector Space Poem

     As a Columbia undergraduate, media artist Millie Niss (1973-2009) majored in mathematics and was enrolled in a math PhD program at Brown University when she decided to make writing her full-time career.  Before her untimely death in 2009 Niss was well-established in Electronic Literature.   Here is a link to "Morningside Vector Space," one of the poems at Niss's website Sporkworld (at Sporkworld, click on the the E-poetry link).
     Niss's electronic poem retells a story (inspired by the Oulipian Raymond Queneau's Exercises de Style) in many different styles and following many different constraints. The computer is central to the retelling as the text varies almost smoothly along two dimensions, controlled by the position of the mouse pointer in a colored square (to the right in the screen-shot below).  Behind this poetry is the mathematical concept of a two-dimensional vector space, in which each point (or text) has a coordinate with respect to  each basis vector (version of the text, or dimension along which the text can change).

Mathews retells Dowland (with permutations)

 In my post for 6 September 2013 I presented Oulipian Harry Mathews' poem "Multiple Choice" -- a poem whose alternative story lines might be represented by a tree diagram.  That poem was but one of 29 variations (or "Exercises in Style") by Harry Mathews as he retold again and again a tale first offered by lute-player and composer John Dowland (1563-1626), a musician whose work still finds audience today.   Here is Dowland's tale, from which Matthews created 29 alternative versions.  (See "Trial Impressions" in Armenian Papers, Poems 1954-1984 (Princeton University Press, 1987, out of print) and in A Mid-Season Sky:  Poems 1953-1991 (Carcanet, 1992).) 

Mathematical structure and Multiple choice

     A sonnet repeats the iambic rhythm of the heart beat (da-DUM, da-DUM, . . .) with a line length corresponding to a typical breath (5 heartbeats); it thus seems easy to internalize the numerical structure that guides such a poem. 
     A decision tree offers a very different choice of mathematical structure for a poem -- displaying for a reader different choices among stanzas.  Originally proposed to the OULIPO by founder Francois Le Lionnais, and referred to as a multiple-choice narrative, such a structure allows readers of a poem to choose among subsequent events. Instead of reading the poem vertically, we may jump about, choosing the sequence we want to read.

Growing lines . . .

 Maximizing Meaning (maybe)

How
many
syllables
will fit on this
single line segment?
_____________________________________________________

New poems from old by substitution

     Just as we get new numbers by substitution of new inputs into old formulas -- such as x² or sinx -- we may get new poems from old ones into which we substitute new words. For example, take a poem and, for each of the nouns in the poem, substitute for it the noun that occurs 7 positions later in a given dictionary. This N+7 rule is one of the inventions of the French group of writers and mathematicians known as the Oulipo.  (For more information, see postings from 25 March 2010, 23 August 2010, 15 November 2010 and 3 January 2011.) 

A septina ("Safety in Numbers") -- and variations

Recall that a sestina is a 39 line poem of six 6-line stanzas followed by a 3-line stanza.  The 6-line stanzas have lines that end in the same six words, following this permutation pattern:

   123456   615243   364125
   532614   451362   246531

The final stanza uses two of the six end-words in each of its three lines.  An original pattern for these was 2-5, 4-3, 6-1 but this is no longer strictly followed.

Can sestina-like patterns be extended to other numbers?  Poet and mathematician Jacques Roubaud of the OULIPO investigated this question and he considered, in particular, the problem of how to deal with the number 7 of end-words -- for 7 does not lead to a sestina-like permutation.  Rombaud circumvented the difficulty (see Oulipo Compendium -- Atlas Press, 2005) by using seven 6-line stanzas, with end-words following these arrangements:

Which is the BEST order?

At Bartleby.com, we find  a quote from Samuel Taylor Coleridge (1772-1834) which says, in part " ... poetry—the best words in their best order." 

Consider the two orderings of the words "were" and "we." (To choose which is best is not possible until we know more of what the writer wishes to say.)

          We were!
          Were we?

Poetry generators

Blogger edde addad had an undergraduate major in creative writing -- and later earned a PhD in computer science.  He has written about and created poetry-generating programs. addad is one of the contributors to the blog Gnoetry Daily -- which offers ongoing discussion and examples of collaborative human-computer poetry generation.  Here is  "Mystery" -- a poem generated by eGnoetry (assisted by addad!):

New poems from old -- by permutation

     One of the founding members of the Oulipo, Jean Lescure (1912-2005), devised categories of permutations of selected words of a poem to form a new poem; three of these rearrangements are illustrated below using the opening stanza of "Mathematics or the Gift of Tongues" by Anna Hempstead Branch (1875-1937). Here is the original stanza from Branch's poem:  

New poems from old -- by substitution

Poet Lee Ann Brown was the featured poet at the November, 2010 Conference on Constrained Poetry at UNC Ashville; this conference celebrated the 50th anniversary of the founding of Oulipo.  In a poetry sampler archived from the Boston Review, we find "Pledge" (see below) and other samples of Brown's work.  Recordings are available at Penn Sound. 

Celebrate Constraints -- Happy Birthday, OULIPO

Patrick Bahls and Richard Chess of the University of North Carolina at Ashville have organized a "Conference on Constrained Poetry" to be held on November 19-20 in celebration of the 50th Anniversary of OULIPO (short for French: OUvroir de LIttérature POtentielle), founded in 1960 by Raymond Queneau and François Le Lionnais. The group defines the term littérature potentielle as (rough translation): "the seeking of new structures and patterns that may be used by writers in any way they enjoy." Constraints are used to trigger new ideas and the Oulipo group is an ongoing source of novel techniques, often based on mathematical ideas -- such as counting letters and syllables, substitution algorithms,  permutations, palindromes, and even chess problems.

I miss you, Martin Gardner

Martin Gardner (1914-2010), featured also in my June 6 posting, would have been 96 years old today--October 21, 2010.  All over the world lovers of mathematical puzzles have taken time today to celebrate Gardner's puzzling--and the ways it stimulated their own.  Although Gardner disclaimed poetic gifts, he popularized puzzle poems written by others -- and he introduced the poetry strategies of the OULIPO (see March 25, August 5, and August 23 postings) to American readers.  Here is a puzzle poem, by an unknown author, included in Gardner's Puzzles from Other Worlds (Vintage, 1984) and in Strange Attractors (A K Peters, 2008). 

The Irrational Sonnet -- An Oulipian form

An irrational sonnet has 14 lines, just as the traditional sonnet, but differs in its stanza-division and rhyme:  there are five stanzas--containing 3, 1, 4, 1 and 5 lines, respectively (these being the first five digits of the irrational number pi), and a rhyme scheme of   AAB  C  BAAB  C  CDCCD.  This form was devised by Oulipo member Jacques Bens (1931-2001) in 1963.   (Previous postings concerning the Oulipo occurred on March 25 and August 5.) 

Snowballs -- growing/shrinking lines

Today's post explores poetic structures called snowballs developed by the Oulipo (see also March 25 posting) and known to many through the writings of Scientific American columnist Martin Gardner (1914-2010).  TIME Magazine's issue for January 10, 1977 had an article entitled "Science:  Perverbs and Snowballs" that celebrated both Gardner and the inventive structures of the Oulipo. Oulipian Harry Mathews' "Liminal Poem" (to the right) is a snowball (growing and then melting) dedicated to Gardner.  The lines in Mathew's poem increase or decrease by one letter from line to line.   Below left, a poem by John Newman illustrates the growth-only snowball.

Queneau and the Oulipo

Raymond Queneau was one of the leaders of a group of ten--primarily writers and mathematicians, primarily French--who founded a group, "Ouvroir de Littérature Potentielle" ("Workshop of Potential Literature"), that eventually became known as the Oulipo. Queneau described potential literature as "the search for new forms and structures that may be used by writers in any way they see fit."