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1. Hello Hell

   This emotional poem about heartache and the “thousand natural shocks that flesh is heir to” particularly in the aftermath of a failed relationship. Lew takes the metaphor of emotional pain as being related to the heart and extends it to the realm of medicine, by referring to the speaker as “the subject” and creating an interface that suggests experimentation on or examination of that test subject. The image of bubbles (or are blood clots?) floating around the screen, is an interface for scheduled stanza sequences activated by a mouse click. The sound of a heart beating in the background and the poem that unfolds as you click on the bubble/clots (with 1 to 5 bubbles, which can be read sequentially or not) suggest that heart-stopping moment when one encounters a greeting card from a departed loved one.

   This poem is reminiscent of D. H. Lawrence’s poem “Medlars and Sorb-Apples,” because it examines the same phenomenon, though Lawrence comes to a different conclusion when he says “wonderful are the hellish experiences.”

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:11

2. ira, sarah

   This video poem is about how serious the undertones of a playful crush on celebrities can be. Each stanza that scrolls up the screen delivers a layer, perspective, or progression of the situation, starting with a Sunday afternoon routine for the couple whose desires shape the poem. A key strategy in the poem is to examine the focus of desire, within the couple, towards the radio celebrities, particularly their bodies, voices, and the idealized American Life they represent. Another is to deploy radio metaphors to reflect upon relationships, using images of tuning to stations, focusing on host and guest, and providing images of wavelengths, which suggest that while they are both tuned to the same station, they may be on different wavelengths. Or perhaps they are on the same frequency, that of ordinary life with routines and ruts, while desiring to be on another, represented by the radio stars they are attracted to. The implications for this relationship can be intuited by examining the language used to indicate proximity and distance— between each other, between them and their respective celebrities, and between their life and the one they dream of.

   Hannelen Leirvåg - 10.02.2013 - 20:16

3. Video Blog::Vog

   This interactive video poem highlights the use of collage that is so central to Web work that one of the first Web browsers was called Mosaic. This artistic technique builds a whole out of parts, much like a Web browser assembles a coherent display document out of different kinds of electronic objects, often in different locations on a network. Formats like Flash or Quicktime produce an illusion of unity by mixing together multiple elements and packaging them for export as a single proprietary file.

   Hannelen Leirvåg - 10.02.2013 - 20:19

4. Sky

   This poem is built over the song “Don’t Know Why” by Norah Jones, and takes its time doing so, with opening dedications, a slow-paced delivery of the poetic lines, and even some playful credits at the end. The poem’s linguistic text focuses on words used to denote possibilities, missed opportunities, second chances to create a tone similar to the last few sections of “The Love Song of J. Alfred Prufrock” but using language more fitting of “Anyone Lived in a Pretty How Town.” The lyrics in Norah Jones’ song enhance the melancholy tone, as well as the images of dusk turning into night and a flower losing its petals. So savor this unhurried poem and lose yourself for contemplation of its details, if only for the space of a song.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:24

5. Sotto Voce

   "I know the voices dying with a dying fall
   Beneath the music from a farther room."

   The quote from T. S. Eliot’s poem “The Love Song of J. Alfred Prufrock” is an important motif in this poem by Safavian, inspired by overheard cell phone conversations. These conversations are intimately private yet their delivery in public spaces make them “become part of the poetry of public, everyday life,” according to Safavian. This idea of private confessions getting out into the world is a theme parallelled in Prufrock, which in turn references Guido da Montefeltro’s words in Dante’s Inferno (see the epigraph).

   Hannelen Leirvåg - 10.02.2013 - 20:32

6. Intersecting Lives

   This poem interweaves voices, images, words, and narrative threads to capture some of the emotional intensity of three characters in a relationship that seems to have ended. As an image-driven hypertext, the reader can click on different links usually associated with different characters to explore their thoughts. Each node has its own input cues and responds to mouse movements, mouseovers, and clicks differently, so explore the possibilities of each before clicking on too hastily or you might miss important lines in the poem. Some of the images take some interpretation and are not always clear in what they represent, enriching the experience by suggesting rather than showing. The use of handwriting and drawings also enhances a sense of the personal, and occasionally adds a layer of visual ambiguity (does she use the word “connections” or “corrections?”). The handwriting also masks a number of typos which are difficult to correct when processed as an animated image in Flash (an issue addressed in Jhave’s “Typeoms”).

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:36

7. White Room

   The minimalist design for this poem concentrates attention on the visual while it evokes all the senses with its language choices. There is only one input cue at the opening of the poem a white dot in the faint gray background that triggers the poem’s slowly scheduled display of language. The pace at which lines fade in and out creates a layered meditative experience and the words instruct readers to imagine a space, do things with their bodies, and become aware of how it leads to sensory experience. Pay attention to the rhythm established by the fading language and to the rhetorical and semantic pattern Knoebel creates with the poem so you can really appreciate how he breaks both patterns with a single powerfully sensuous word.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:45

8. How I Heard It

   This aural poem about a speaker’s perception of a bar fight is arranged on a visually minimalist interface that allows readers to experience both the chaos of the event and the calm recollection of it afterwards. Each circle (or is it the letter O?) contains two areas that respond to mouseovers. The circumference triggers the playback of a recorded line of speech that tells a piece of the story. The center triggers a loud diegetic sound that takes the narrative beyond being a language constructed event to something that feels real. You can trigger more than one sound clip simultaneously, by the way, and if you move your mouse pointer rapidly over the whole piece, you can create a truly chaotic mess of sound and information— perhaps like the experience of a bar fight.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 20:48

9. Rude Little Song

   This aural piece is a kind of Lettrist sound poem, because it uses verbal language in sub-morphemic units (with thanks to Melissa Lucas for the term). In other words, the poem is concerned with putting together snippets of vocalized language sounds that don’t carry semantic meaning, all performed a capella, recorded, edited, and spatially arranged by Jim Andrews. The visual composition is as non-referential as the sounds, activated by moving the pointer over the pulsating colored squares. (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 10.02.2013 - 21:25

10. In the Footsteps of the Father

    This hypertext poem gives a voice to Jesus as he questions the narrative path he is in and decides not to follow in it. The central metaphorical motif in this poem— to follow in someone’s footsteps (in this case in the father)— has particularly powerful resonance when applied to Jesus and Jehovah. For Jesus to follow in his father’s footsteps is to become a god through painful self-sacrifice, but in this poem, Jesus seeks to make his own path as a human being.

    (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 10.02.2013 - 21:28

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