Current ‘official’ book description:
Synaptic Syntactic is a book of abstract and contemporary poetry, and semantic line drawing artworks. In it, Demonoid and we all the small ones converse in the space between the individual and eternity. They travel the tales that lie in the cracks between self and society. The Jabberwock plots, inspires, and tampers. The poems speak of humanity impersonally and often break out into numinous non-sequiturs. Other parts weave more individual vignettes in the haphazard realm of humans. The ‘story’ wraps up with a meditation on violence and exuberance from the mouth of a gleeful chattering chaos. Much of the text is a product of partly or fully automatic writing, which was later selectively typed up and edited.
I’ve as yet been unable to persuade or pay anyone to assist me on book description / author bio / critical review. Here is a sort of ‘about the making of’ I wrote today, though:
Synaptic Syntactic is an ebook composed largely from work I did that could often be called ‘automatic writing’ wholly or partially. Building on my on again, off again habit since 2004 of writing “the Morning Pages” from Julia Cameron’s “The Artist’s Way”(I have still never yet worked the actual program she describes, though!), I took up a habit of instead of writing 3 pages without pause or editing continuously, I would attempt to write, every morning, a target of 8 pages in verse. It very often included writing anything that came to mind quickly, although at other times I would pause and think over the next line a bit. This was in the end of 2014, maybe, and through roughly April of 2015. Eventually I took up a further habit of, as many days as I could manage, reading through my recently written work and typing up with line edits the pieces that seemed promising. In or slightly before the beginning of my every-day poetry writing, I had submitted manuscripts to a couple of contests for poetry book publication, but was unable to afford to continue doing so. I eventually assembled roughly 8-9 different manuscripts in this period, and in October 2015 and on January 1st 2016 published 2 ebooks through Kindle Direct Publishing. I just recently took them down due to weaknesses in the texts, but I had more success moving free and paid copies of them than I have managed as yet with BookBaby. I managed to secure a combined 3 reviews and 4.5 and 5 stars on them, however. The first was called “The Driftwood of Our Lives Washed Up on Some Foreign Shore”, and the second “Ziggomatic Keys: Synaptic, Syntactic, and Really Fantastic”. I began editing and revising Ziggomatic Keys a months before going to an inpatient dual-diagnoses treatment center in September 2016 but stalled out at some point (many classes of conditions were treated at Recovery Ranch in Tennessee; I had precipitated my stay by managing to get a 2nd DUI by putting my car in park and falling unexpectedly asleep on a non-parking road). Revision got under way in earnest at the Ranch, and after many delays I published the new, renamed, hugely improved in July 2017, about 14 months after starting the rework. There were many small changes, significant additions (only 2 poems, I think, but all the artwork, the dedication, new section names, cover and about the author), and a handful of major reworks of poems. I took time to develop some poems I loved initially but later realized left things with exceedingly vague language that didn’t say enough, making the language more interesting, intricate, and specific, however ‘abstract’ or ‘non-representational’ I kept some parts. As a university-trained (bachelor’s still incomplete in 2018, alas) visual artist who had stopped doing any art beyond the occasional sketch, I took my blogging habit and developed a fulfilling (if frustrating) outlet as a ‘real’ poet. The Morning Pages, and perhaps, also the visual art training helped me to approach creating verse in a way that did not need to plan, know, or understand a subject when writing. “To become a good writer, you have to be willing to write a lot of crap” I remember telling someone in 2015, and I think this is likely true of most writer’s. I think it was Hemingway who I’ve seen quote as “All first drafts are shit”; while this may be much less so of very short work like many poems than of novels, it is a good thing to remember. I think I may have started the 8-page-a-day habit while I was endeavoring to impress a barista I had a crush on, and/or insinuate myself into the coffee house workers’ social lives (I failed). I had become part of a close-knit, diverse in age, and accepting ‘tribe’ that partly coalesced around a particular coffee shop in Huntsville, AL, years before, and for some reason decided to try to create or gain that for myself again. Alas (?), such ‘virtuous’ social assemblies are emergent phenomena which cannot generally be deliberately summoned/created.
Sort of anxious about including the next block in full, but it was significant and I’m tired of delaying this, so I’m just gonna go ahead:
[Sometimes pushing oneself to try more than one normally does, and get out of one’s comfort zone can be uncomfortable because your trying to push yourself / force things actually leads you to overstep others’ boundaries; particularly when it is morning rush! To be fair to me, the day / the behavior that finally led to them summoning the company’s operations head to tell me to cease trying to befriend her employees was precipitated by a young lady using a false pretense (instructing me to wait while she finished something before asking a question, then purposefully refusing/being unavailable to speak to at all).] So, I should perhaps also add a note of thanks to the Lee, mentioned in “Crush Haiku”, who I was trying to ‘impress’ or whatever (who was not the one who decided to stick it to me). But I won’t! It was especially maddening because I’d lost my job with Amazon due to a job-induced seizure just the day before (and I don’t even have seizure disorder!).]
So, it was in early 2015 that I began to try to really do something to advance myself professionally as a poet/writer, and more than just blogging, in a big way. The first two I published suffered 1) from some poems that had too much general incoherence/ inability to be very meaningfullyinterpreted and 2) with Ziggomatic Keys, a terrible formatting problem that affected every page (caused by not grasping the differences between formatting for 8.5×11” prints and ebooks). The only included poems that I first drafted outside the late 2014 – Spring 2015 interval of numerically huge productivity are “Watch for Spirit (we demand new order)”, which is of unknown date, but significantly earlier (It survived because I made a poetry.html page for it at my Psychic Fugue Studio web site, the first in a planned but never done series of poems in web pages I would code directly), and the first 2, “Atemporal Pisky Topologies, Simple” and “Cryptogram of Cosmic Glue”, which were written shortly after my spell at the Ranch and during it, for a patient open mic night, respectively (I was one of only two people to present poems, and received one of many (but not uniformly) standing ovations), September/October 2017. Despite the futility of my attempts at getting significant attention/sales/reviews for this version of the book so far, I really believe in it, believe it is worthy, essentially fully finished, and continue to persist at trying to promote it as I’m able.
5-12-2018: in retrospect I should have included a note of thanks somewhere to Juliana Spahr for her book “Well Then There Now”, but submitting a revised file would cost me $220. It only later became apparent to me how much material I’d included written under the strong influence of “Well Then There Now”, particularly “Some of We and the Land That Was Never Ours”, from which I appropriated the name We of all the Small Ones and variations thereon for one of my characters beyond material reality.
From the Dedication:
“Number of 5 word permutations of [ONLY the] most common 1000 words: 1×10^15 (1000 trillion)”