S.W. is able to pan around and see thewoman’s home. The flooris dirt. He can almosttouch cement and stoneslayered between pieces of wood. Moreyoung men in fatigues appear on the screen, nowin front of what looks like an office building.The voice says, “More rangers’ lives would besaved with better communication.” The rangers are trying to prevent poachersfrom capturing gorillas. The S.W. is in the jungle.A gorilla now walks across the field of vision. The S.W.tilts his head away from the gorillaand stands amongst lush green foliage.
The young man
explains that the videowas a trailer for a longer videoused to raise moneyfor energy projects in the Congo. The S.W. says that itmust be an effective fundraisingtool. Smiling, the young man agrees. “It providesempathy for the donors, pulling them into a newexperience they wouldn’t normally haveaccess to.” Followinga pair of keynotes in which guests hear about how the viral isbecoming more viral, and websitesare mousetraps, and content the cheese, the S.W. heads to a session called “Howto Create TrulyValuable Content.” The speaker is Melanie Deziel, female, white, late 20s. She wears dark jeans, sneakers, a fitted blazer.The room is full of guests, with somestanding up in the back by the table with hotel stationery and pitchers of icewater.
This flarf poem utilized the historical “cut-up” poetry variations using modern text and subject, with the paragraphs taken from Tablet magazine’s online article titled “The Future of Media is Here, and I Was There,” by Sean Cooper.
As a freelance journalist, the article itself struck me due to the constant discourse of uncertainty in the industry and how journalists are running around in desperation to not only keep up with the latest multimedia technology, but also to maximize profit and stay relevant. The passages taken from this long-form journalism piece are located within the middle of the features piece.
The poem itself is about a woman’s relationship with the men around her. How she is perceived by them and how she perceives herself. Examples include the lines “The voice saved from capturing,” refers to the woman’s consent had it not been given, she wouldn’t be “saved.” The poem starts with “the woman’s home is dirt” and ends with “she wears the room standing up in water,” signifying her ownership of her free will.