Poetry

Why Nothing Is Funny

Book Review: A Nihilist Walks Into a Bar by Brianna Ferguson

by Peter Clarke

 
 

If you take one look at Jokes Review, you know that we don’t actually publish jokes. In fact, we’re more than happy to do without humor unless it’s unmistakably ironic, meta, and/or actually funny. Still, every submission period, we get at least a few people submitting grade-school level knock-knock/yo’ mama/what-do-you-call-it-when-type one-liners.

Someday, just to make a point, we may actually publish these submissions. But then we’d likely have to shut down operations out of embarrassment.

Brianna Ferguson gets it. Our most frequent contributor, she’s published four stories, one poetry collection, and an author interview with us. Totally in keeping with our own mystique of pretending to publish jokes while really publishing high-brow literature, she now has a book out from Mansfield Press titled, A Nihilist Walks Into a Bar.

I really, really hope someone picks up her book thinking it’s a collection of nihilist-themed jokes. And I hope they’re utterly crushed to find, instead…poetry.

Now, the funny thing about that—and about all of this—is that (and I’m sorry to spoil the secret here, Brianna) her book really is a collection of jokes. It’s just that—since it’s poetry, literature—they’re more ironic, subtle, and challenging than your one-liner style ha-ha joke jokes.

While reading Brianna’s book, I couldn’t help myself and I looked up nihilist jokes on Google. I’d never heard of such a thing, but sure enough:

“I used to hate nihilist humor…but nothing is funny to me now.”

“Introducing the nihilist dating agency…for people who have nothing in common.”

“My nihilist best friend has poor self-esteem…he just doesn’t believe in himself.”

“There’s very little demand for nihilist merchandise…I guess it’s a Nietzsche market.”

And of course:

“A nihilist walks into a bar…” [full stop]

These are fine. Maybe you even chuckled a teeny-tiny bit. But chances are you weren’t devastated, brought to tears or hysterics, or otherwise impacted by these jokes. To get that effect, you’ve got to read fully fleshed-out, fully humanized renditions of these one-liners—which are the poems in Brianna’s collection.

True to nihilism, the collection has a fairly bleak theme, something like: The struggle against overindulgence and sloth in a world where nothing matters, but you still have regrets for your failures, even though, again, everything is futile. 

Despite the bleakness, the text is full of humor, irony, complex characters, and lively descriptions. Many of the poems have a strong sense of place, to the point where I practically feel like I’ve visited the small Canadian town where many of the poems are set. Not just visited, but lost my religion, moved into a trailer park, drank too much beer, squandered too many afternoons at the bowling alley, held any number of unsatisfying, underpaid jobs…

These are the stories Brianna brings to life in her poems. Reading them, you’re immediately present with her. It’s hard not to draw a comparison to the feeling you get from reading Bukowski. You just sat down on the couch to read some of his poems for ten minutes, but, after setting the book aside, you swear you just spent all afternoon at the horse races in LA.

In my mind, this is the highest compliment that can be given to a collection of poetry. It’s the one thing that separates a one-liner joke (or, worse, a stuffy, longwinded poem) from a true work of literature.


For more about Brianna, visit BriannaFerguson.com and follow her on Twitter @brianna_eff.

A Love Letter to the Rubik’s Cube

by Lane Chasek

 
 

Claude Shannon (a mathematician and cryptographer who pioneered the field of information theory) was never the type of guy I would pin as a poet, but, as it turns out, he was quite the diddy composer. Along with his work in information theory, Shannon was also a fan of the Rubik’s Cube, and even invented one of the first Rubik-solving machines. Shannon’s “Rubric on Rubik Cubics” is a love letter to his favorite puzzle. It also reads like the lyrics of a They Might Be Giants song. Below are (in my opinion) the best stanzas (along with my annotations):

 

Once puzzledom was laissez faire
With rebus, crosswords, solitaire.
Comes now the Rubik Magic Cube
For Ph.D. or country rube.
This fiendish clever engineer1
Entrapped the music of the sphere.
It's sphere on sphere in all 3D—
A kinematic symphony!

Forty-three quintillion plus
Problems Rubik posed for us.2
Numbers of this awesome kind
Boggle even Sagan’s mind.
Out with sex and violence,
In with calm intelligence.
Kubrick’s Clockwork Orange3— no!
Rubik’s Magic Cube — Jawohl!4

Respect your cube and keep it clean.
Lube your cube with Vaseline.
Beware the dreaded cubist’s thumb,5
The callused hand and fingers numb.
No borrower nor lender be.
Rude folks might switch two tabs on thee,
The most unkindest switch of all,
Into insolubility.6

The issue’s joined in steely grip:
Man’s mind against computer chip.
With theorems wrought by Conway’s eight
‘Gainst programs writ by Thistlethwait.7
Can multibillion-neuron brains
Beat multimegabit machines?8
The thrust of this theistic schism —
To ferret out God’s algorism!9


1Erno Rubik, inventor of the Cube, is actually an architect. But “architect” is a very hard word to rhyme.
2The “problems” Shannon refers to are the total number of configurations possible on a 3x3 Rubik’s Cube.
3Like many educated, conscientious men of his day, Shannon had terrible taste in cinema.
4German for “Yes, sir!”
5As an amateur cuber myself, I can attest to this. Do five minutes of finger stretches before an intense Rubik’s Cube session, and lubricate your swivel regularly.
6 If you switch two tiles (or stickers) on a Rubik’s Cube, the puzzle becomes unsolvable.
7 Both Conway and Thistlethwait studied the Cube mathematically and developed some of the first algorithms for solving it.
8Already, Shannon foresaw a Deep Blue-type situation in which humans would be outdone by their own cybernetic creations.
9A play on “God’s algorithm,” which refers to a hypothetical algorithm that would solve the Cube in the fewest moves possible. This is similar to “God’s number,” the maximum number of moves required to solve any Cube configuration (which happens to be 20).


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

AI-Generated Poetry: A Literary Curiosity That's Here to Stay

 

by Lane Chasek

AI Poetry.jpg
 

In our latest issue of Jokes Review we published A Howl by CarloMarxBot. This tour de Twitter is a brilliant pastiche of Ginsberg and, unlike most poems, was written by an AI. 

Though CarloMarxBot is the first AI to be published in Jokes (at least that we know of), AI-generated poetry is far from rare in the futuristic age of 2021. Today there exist dozens of online text generators and algorithms which can create poems. Below are just a few of them and the work they’ve produced.

This poetry generator developed by artist/scientist/software designer Zack Scholl created a poem that got published in the literary journal The Archive at Duke University. Scholl submitted his AI poetry to The Archive without telling the editors they were AI-generated, a kind of poetic Turing Test. (He goes into more detail about designing and testing his generator.)

Here’s the first poem Scholl’s program generated for me:

From What are Veins Galloped

A mechanical projection pities
even the vertical
grammatic land in language
to which the metaphor
will not be dedicated. The indespensable dignity of the shoreline!
And you stole in the animosity and flew a shattering imbroglio.
I am cracked by flint and bloodied steel, by clandenstine and rain.

An aquatic wind of phemonanas.
And the kiss to its foliage
and among the silvery lakes the slender one
the lady covered with free time.
Realized esoteric fragrance of strawberry the reasons for my respect
are set in my nose of cork.

Pacifying from smothered wooden.
Only promise, just the
phemonana, nothing but
it.
Candle.

With its clenched expand there are no utensils but rambunctious cycles of momentum and burnt umber
sea water of rosy lonely ash.

I’m sure this is trying to say something. I’m just not sure what.

If you switch the generator to “mushy poem” mode, you’ll get poems which are much shorter and less likely to contain strings of nonsense. The first poem I got using “mushy” mode was surprisingly good: 

Time With The Film 

Our new alcove, our angellic affection tetrahedrons.
As if to wake or enrich or chirp.

I could see this in a lit mag, cooked up by an actual human brain. The word choice is just as eccentric as in the previous one, but it doesn’t overstay its welcome. 

The Bored Humans poetry generator has a much different style. Here’s one example: 

Baby, Baby, Baby, Baby

My mother said to me,
“Baby, baby, baby, baby
Baby, baby, baby, baby
Baby, baby, baby, baby
Baby, baby, baby, baby
Baby, baby, baby, baby
(I'm Miss American Dream after all)
I just envy you baby
You've got so much to do
(I'm Miss bad media karma)
Even though I'm telling you the truth
You said it out loud
(I'm bad mouth and all that?)
I've had a lot in my mouth
You better keep it close to the top
Don't know which movie you're into
Lose your secrets
Gotta be real with you
You gotta be real with me
Yeah, when I'm with you”

This one seems blues-inspired, maybe with a touch of 80s-era dad rock. This isn’t coincidental. Eric Borgos, the algorithm’s creator, trained it using song lyrics from artists such as Bruce Springsteen. Could it pass the Turing Test? It’s hard to say. You’d either have to be an AI or else a human with a lot of chutzpah to repeat “baby” twenty times in a single poem. 

This last one required a bit of Internet archaeology to unearth. Charles O. Hartman wrote his prose poem Seventy-Six Assertions and Sixty-Three Questionsway back in 1994 and published it on The Grist Online in 1995. Hartman describes it as a “computer-assisted poem.” He goes on to describe the process behind its creation:

The rough draft of this poem, approximately ten times the final size of the text, was produced by my program PROSE (written in Borland C), which is essentially a finite-state automaton or context-free grammar language generator…All further editing was done by hand, with the strict rule that I could only delete (sentences, clauses, phrases, words), not add.

It’s a longer read, but I recommend checking it out. Hartman’s work is interesting because it shows how AI-generated poetry isn’t a recent trend. People have been using algorithms to create literature for more than twenty years, and the fact that a poem like this was created almost 30 years ago feels like discovering an Xbox controller beneath the ashes of Pompeii. 

Can AI-generated poetry be awkward at times? Of course, but you could say the same about human-generated poetry, too. Whether or not AI poetry can pass a Turing Test is pointless, since most readers (unless they’re very anti-technology) won’t care if a poem they enjoy was written by a human, an AI, or a human and AI working in tandem. We’re far from “AI T.S. Eliot enslaves editorial staff at Paris Review” levels of technological development, but in its current state, AI technology functions well as a toy/tool for curious writers.


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

Chapbook Review: I Have Been Warned Not to Write About This by Ron Riekki

 

by Lane Chasek

i have been.jpg
 

Past Jokes Review contributor Ron Riekki published a chapbook through Grandma Moses Press back in May. The book, I Have Been Warned Not to Write About This, features poems about wildfires, climate change, ex-addict family members, working at Domino’s, as well as one about an army bunkmate who claims to have been abducted by aliens.

Each poem delivers a swift, visceral punch to the reader’s gut. Riekki has always had a gift for depicting the frailty of the human condition, and here he showcases human frailty alongside the frailty of planet Earth itself. Each stanza promises an ending, a calamity—something at the edge of our vision that threatens to undo us but never makes itself fully visible. The end is inevitable, but its distance is comforting.

Since this is a Grandma Moses Press chapbook, this book is not only a pleasure to read, but a novel addition to a home library. The press’s 3 ⅜” x 5” limited-run chapbooks can be hidden anywhere—day planners, billfolds, purses, instruction manuals, and even inside other chapbooks. It pays to be discreet, especially when it comes to poetry.

Check out Riekki’s poetry in Jokes Review:

My Sister Said She Saw a UFO: 3 Poems

The Road Not Taken: 2 Poems


Lane Chasek (@LChasek) is the author of the nonfiction book Hugo Ball and the Fate of the Universe, the poetry/prose collection A Cat is not a Dog, and two forthcoming chapbooks, Dad During Deer Season and this is why I can't have nice things. Lane's current pride and joy is an essay he published in Hobart about Lola Bunny and the latest Space Jam movie.

What's the Future of Sound Poetry?

As the author of “Hugo Ball and the Fate of the Universe: Adventures in Sound Poetry,” Lane Chasek is an expert in all things sound poetry. Chasek’s book goes into detail exploring the history of sound poetry and bringing the unique art form up to the present moment.

In my recent interview with Chasek, I was curious about his thoughts on the future of sound poetry. Below is a selection from that interview, where Chasek discusses this question.

- Peter Clarke


Do you think sound poetry has a future as a poetic form?

Lane Chasek: Sound poetry will be around forever, I think, but it probably won’t gain popularity anytime soon. In its purest form it just doesn’t appeal to a mass audience. It’s always been a niche genre, but I don’t mind. There’s something special about discovering a writer or performer like Jaap Blonk and only one or two of your friends really “get” what he’s doing. You can share that forever.

However, even if sound poetry isn’t popular in its own right, its children certainly are. And by children, I mean the ways in which sound poetry has influenced music. Scat singing, for example. Even if someone doesn’t know about sound poetry, they’re probably familiar with scat singing, whether it’s Mel Torme or Scatman John. But let’s face it, even jazz has become pretty niche.

I think where we’re really seeing sound poetry’s lasting effects is in the newer generation of rappers, especially the ones who get labelled as “mumble” rappers. Which isn’t a fair label. “Mumble” implies that their style is lazy just because it’s occasionally nonsensical. If there’s anything I’ve learned, it’s that nonsense can be an artform. When someone complains that an artist like Lil Uzi Vert doesn’t use complex, sprawling rhyme schemes like Pharoahe Monch, I can’t help but laugh. It’s like comparing Hugo Ball to Alexander Pope. They’re different artists, they have entirely different goals. A lot of this newer music focuses on mood and the sonic experience more than the lyrics themselves. This isn’t the devolution of rap — it’s proof that the spirit of the first major sound poets is alive and well in the 21st century.