Flarf Poem and Unstable Text

The S.W. is able to pan around and see the woman’s home. The floor is dirt. He can almost touch cement and stones layered between pieces of wood. More young men in fatigues appear on the screen, now in front of what looks like an office building. The voice says, “More rangers’ lives would be saved with better communication.” The rangers are trying to prevent poachers from 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 gorilla and stands amongst lush green foliage.

The young man explains that the video was a trailer for a longer video used to raise money for energy projects in the Congo. The S.W. says that it must be an effective fundraising tool. Smiling, the young man agrees. “It provides empathy for the donors, pulling them into a new experience they wouldn’t normally have access to.”

Following a pair of keynotes in which guests hear about how the viral is becoming more viral, and websites are mousetraps, and content the cheese, the S.W. heads to a session called “How to Create Truly Valuable 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 some standing up in the back by the table with hotel stationery and pitchers of ice water.

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.