i the writer the poet the writer the person that others saw as a poet
a writer a person that earned their living by writing had an idea an
idea to be a student again a student of writing and so he wrote a
proposal a thought an idea on paper and presented the idea to a
professor and a panel of academics for approval for acceptance
acceptance being of course a reason for the writer becoming a
writer in the first place to seek acceptance to belong to this
country this landscape this society this place this place where
the writer the i the poet was born but was never made to feel a
part of or never felt that he because a he he was he was born a
he and a he he was undeniably and undoubtably because there was
never any doubt ever in his mind of his he-ness just the
proportions of his he-ness or at least the attention drawn to the
proportions of the thing that linked him to all other hes his
he-ness his penis was small his mother said to the doctor wellnot
his penis his father would not approve of her saying penis or
pregnant in front of children his glands his glands doctor they
look well underdeveloped for his age doctor but doctor said
they'd be o.k. and they were but he always thought they looked
small a smallish he-ness never ever never no wishing for a
her-ness just release from the harness of gender and classness
this he-ness this writer this poet this i never felt part of this
this so-called classlessness this blacklessness this
genderlessness this loch-nessless bunyip land of milk and honey
and cream brick houses on a quarter acre of land this land the i
the writer the poet re-wrote to include himself in because he is
a he he is a he who is a writer who sees things from a he point
of view he who redefined the environment the atmosphere the
landscape in which he could exist as a he and as a blackless he a
blackless classless cuntless he he re-wrote re-interpreted the
text the textures the yet to be expressed textness of this land
and was accepted was accepted as a he that fitted into the
he-scape he created the he-scape the he-text accepted him as a he
in context he contextualized his blacklessness classlessness
cuntlessness existence his text was accepted as a measure of
acceptance acceptance of his status his context as a writer a
poet a text generator a text experimenter in the context of this
vast classlessness this sunburnt blacklessness this suck-my-cock
cuntlessness was accepted to study writing to study again to
create to reflect to comment on the text created as a writer as a
problem solver as a traveler as a scholar as a student of
creative writing new writing writing that engages that enrages
that breaks conventions that challenges beliefs and defies
definitions and traditions the i the writer the poet was accepted
and by being accepted rejected the he he had been for that he the
he he had been was a has been that he seemed like a stranger to
him the writer the poet the i that wrote himself into the
landscape into being into being accepted and was accepted as a
student and as a student began to re-define the he he had been
the he he called i the i that he wrote the i he thought i was
because the i that writes is not the i that is written about for
the i written about is never the i that writes but the i i thinks
i is or the i i wants to be never he never i never the i that i
is for in the context the he-text i writes within this lessness
context this first world context this one world one globe context
this well fed warm bed context this post berlin wall context this
reconstructed marxist context this new world order context this
solar powered environmentally friendly nuclear free context this
post n.a.s.a. moon walk space probe intergalactic context this
gloriously infinitesimal infinite infinity in the context of this
infinity there is no absolute truth no absolute truth except that
the i the i that writes the i that proposes proposals of study
the i that is writing that i is finite that i has a beginning and
an end known as birth and death and between birth and death there
is life and having a beginning and an end and a life that i must
have a middle and a mid life and that mid-life is also a part of
the context the mid-life he finds himself in or tries to find him
self in for i has a self as well as a he and a context a place a
landscape and a blacknessless and a classlessness and a
cuntnessless and a self that is neither he nor she nor it a self
that doesn't want his cock sucked when he is depressed a self
that is happy in being and a self that enjoys self makes problems
for self and a self that enjoys solving those problems for self
enjoys being by itself creating for itself a self comfortable
with the infinity of the self a self masquerading as a he a
mid-life he manifesting as the i i the poet i the writer i the he
the midlife he the she-less he the she-less he he chose to be not
for another she but to re-acquaint his self with he with i i the
writer the poet to create a new context in which to exist to
construct a new reality so that i could only place himself in the
context of things to come not things that have passed the self is
comfortable in the present can not be found in the past or the
future i writes for the future creating a context for the self to
be comfortable with when the future becomes present and he can be
blamed for the past so the poet the writer the i began to write
the dissertation the writing that would make a significant
contribution to the genre the genre of writing called poetry and
he called that writing cyberpoetry.
c1995 komninos




> i am no longer interested in writing overviews of national poetics -
> old, new, emergent or otherwise. i see all such structures as being
> complicit in the construction of national identities that inevitably
> destroy liberty and equality. the machine of the state has many
> guises, and the poetry industry is one of them. even overtly
> political poets who allow their poetry to become part of a national
> 'heritage' or identity are complicit in this. language should be
> used to reduce the influence of the state, to fragment, to create
> lines of communication between non-centralised communities. if
> poetry captures the highs and lows of human aspiration, it does so
> all too often through a simulacrum of freedom - it plays the games
> of bigoted and oppressive societies. i am not interested in the idea
> of australia. i am interested in bringing attention to tension and
> conflict behind the face of pleasantness - to highlight the
> injustices to indigenous peoples and the racisms and misogyny that
> prop up the Australian government, its bureaucracy, and those
> capitalist enterprises that support it. i wish to highlight the
> injustices to animals as well as humans, and to work towards halting
> the destruction of the environment. REHABILITATION, PREVENTION, and
> a linguistic disobedience.
>
> john kinsella
komNinos zErvos cYberPoet lecTurer cyBerStudies
SchOol of aRts griFfith uniVerSity GolD coaSt cAmpuS
pmb 50 gold coast mail centre queensland 9726
tel +61 7 55 948872 http://student.uq.edu.au/~s271502