Which order is best -- or should I try them all?

This posting celebrates a new poetry collection -- 

Ringing the Changes by Stephanie Strickland 
(Counterpath, 2020).

This new collection starts with an idea from bell-ringing.  Some city towers have marvelous-sounding bells -- and sometimes these bells ring wonderful concerts for nearby inhabitants.  One of the traditional bell-ringing activities is called "ringing the changes" in which a collection of n bells are rung, in sequence, in all of the possible n-factorial bell-orders.  (Here, at Strickland's website, are some links to information about the art of bell-ringing.)

BUT, what if the goal were not to ring bells in sequence 

but to generate (for a reader) sequences of words (thoughtful poetic phrases)?

This sort of art is what Strickland brings to us in Ringing the Changes.

Speaking, understanding . . . where is truth?

     A review in the Washington Post of a new book about Oscar Wilde opens with this quote:

"Man is least himself when he talks in his own person."

and Wilde's words have gotten me thinking again about subtleties of language.
     Also in recent news, the death of Nobelist V. S. Naipaul (1932-2018) -- and here is one of  this writer's thought-provoking statements:

            Non-fiction can distort;
            facts can be realigned.
            But fiction never lies.            V.S. Naipaul, A Bend in the River

My own thoughts about language most often focus on the condensed languages of mathematics and poetry -- and the need for frequent re-readings before understanding arrives.  Here, below, I include a poem by Stephanie Strickland that speaks eloquently of the struggles in which our minds engage concerning objects and the symbols that represent them -- struggles that are involved in creating and reading both mathematics and poetry . . .

     Striving All My Life     by Stephanie Strickland

     Maxwell said: There is no more powerful way
     to introduce knowledge to the mind than … as many different
     ways as we can, wrenching the mind   

Talking-Writing offers Math Poems

     In recent weeks, the online journal Talking-Writing has been featuring math poems and last Monday they posted my "Skagway Study" -- which follows a style explored in one of my favorite poems by Wislawa Szymborska.
      Carol Dorf, poetry editor of Talking-Writing, is a math teacher as well as a poet and her work as well as those of others with math interest are explored in "Wild Equations," the Spring 2016 Issue of Talking-Writing.   Here are some links:

By Giavanna Munafo    "Twenty-Four Hours"

By JoAnne Growney    "Skagway Study" 

By Alice Major     "Euclid's Iron Hand" and "Bird Singularities"

By Amy Uyematsu   "Three Quick Studies of Math-Art"

By Carol Dorf   "Action Potential" and "e"

By Eveline Pye   "Celestial Navigation," "Three," and "The Law of Statistics"

By Larry Lesser    "Margins" 

By Katie Manning   "28, 065 Nights" and "Week by Week" (Fibonacci poem)

By Stephanie Strickland   "Doomed calculations which God acknowledged

                                                Islands (Invaginated by Saltwater
                                           Bays with a Stream and Another Both Flowing
                                              All Through Them along Enfolded Paths)" 

Earlier this week in an American Mathematical Society blog posting entitled "Math and Verbal Gymnastics," Duquesne University mathematician Anna Haensch also celebrated the join of mathematics and poetry.

Hypertext poetry

     We computer-screen readers all know hypertext; when we read along in Wikipedia or some other online document and come across an underlined term whose font color is light blue -- at such a point we may decide to keep on reading as if we had not noticed the light blue "hyperlink," or we may locate our cursor on that text, click our mouse, and link to a new screen of visual information.
     My first encounter with hypertext poetry was the work of Stephanie Strickland -- in her 1999 love poem, "The Ballad of Sand and Harry Soot," available at this link.  If you, however, are someone who is not yet comfortably familiar with hypertext poetry, I invite you to gain some experience with hyperlinked reading via a prose essay -- reading it first as a traditional essay and then exploring ways that hypertext can vary the experience of reading.

Mathematicians are not free to say . . .

The poetry of a mathematician is constrained by the definitions she knows from mathematics.  Even though all but one of the prime integers is odd, she cannot use the words "prime" and "odd" as if they are interchangeable.  She cannot use the words "rectangle" and "box" as synonyms.  But the ways that non-math poets dare to engage with math words can be delightful to mathematical ears and eyes.  For example:

       The Wasp on the Golden Section     by Katy Didden

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).

Forecasting snow and poetry

Snowbound

is that other world
in which no schedules sit
and no ambitions flare
to interrupt the bluest sky
and whitest field
and coldest air

Emily Dickinson

     Although I do not consider any of Emily Dickinson's poems "mathematical," I find that she does not shy from using the terminology of mathematics. For example, her repetition of the word "circumference" noted in an earlier posting.  (To search this blog for mentions of Dickinson (1830 - 1886) or any other poet or topic, follow the instructions offered in green in the column to the right.)
     Dickinson is on my mind these recent days following my opportunity last Saturday evening to attend a session of a conference held by the Emily Dickinson International Society.  A gracious invitation by Martha Nell Smith enabled me to attend a program that featured two long-time friends, actor Laurie McCants of the Bloomsburg Theatre Ensemble, performing a scene from her one-woman show, Industrious Angels, and Stephanie Strickland, a New York poet who, along with collaborator Nick Montfort, offered background and performance for Sea and Spar Between, a poetry generator that works with language patterns for these two writers.

Number gives things a body . . .

Poet Stephanie Strickland majored in mathematics as an undergraduate and she uses mathematical imagery freely in her work  -- in a career that has included pioneering leadership in creating and understanding electronic literature.  The following paper-and-ink poem, "Numberbody," is part of a collection that celebrates and illuminates the French philosopher Simone Weil.

     Numberbody     by Stephanie Strickland

     The world stained to the bone raven blue
     with mathematics as an embryo 

Counting for Freedom -- the Amistad trials

     Josiah Willard Gibbs (Jr, 1839 – 1903) was an American scientist who made important theoretical contributions to physics, chemistry, and mathematics.  His father, Josiah Willard Gibbs, Sr (1790 - 1861) was an American linguist and theologian, who served as professor of sacred literature at Yale University.  Although the son is well-known in scientific circles, it is the father who interests us here -- he is the subject of a poem by New York poet Stephanie Strickland.
     The senior Gibbs was an active abolitionist and he played an important role in the Amistad trials of 1839–40. By visiting the African passengers in jail, he was able to learn to count to ten in their language, and he then searched until he located a sailor, James Covey, who recognized the words --the language was Mende -- and was able to serve as an interpreter for the Africans during their subsequent trial for mutiny. 

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!):

Electronic poetry -- Stephanie Strickland

     Computers offer new opportunities for poetry -- permitting new types of poems.  Animated perhaps, or hypertext, or vast manuscripts of which we can see at most a fragment -- the possibilities are many.  Stephanie Strickland is one of the pioneers of electronic literature -- and this post was sparked by my experiences at her presentations at Georgetown University on February 1.  

Digital poetry -- Stephanie Strickland et al

Stephanie Strickland writes with mastery of numbers, as we see in her poem below.  But numbers are only the beginning of her work.  A director of the Electronic Poetry Association and author of "Born Digital," Strickland is one of the leaders in the development of new types of poems that are constructed using animation and rearrangements and other visual and aural communications made possible by computers and the internet.