Launching a bottle into the cosmic ocean

Remember the Voyager record? What Carl Sagan described as “launching a bottle into a cosmic ocean”? A time capsule is a chance for humanity to send a letter to itself. Right now, artists around the world have the opportunity to contribute to The Lunar Codex project.

A great piece on our collective art project had these wonderful words by director Samuel Peralta:

“The Lunar Codex, at its heart, is a project to spread hope during this dark time — the years of the COVID-19 pandemic on Earth — both for creative artists and those who love the arts,” Peralta said. “The project attempts to fill the moon with some of the heart of humanity, our art, so that when we look to the sky, the moon is a tangible symbol of hope, of what is possible when you believe. 

“This is one reason we’ve focused on contemporary creative artists,” he said. “There are projects that archive the works of Shakespeare, or Michelangelo, or Beethoven; and rightly so, for they represent the pinnacle of human artistic achievement. This project focuses on the creativity of our generation, those making art through these troubled years, people like you and I.

“Thus, the Lunar Codex is also a message-in-a-bottle to the future, a snapshot of our generation. Our hope is that future travelers who find these time capsules will discover some of the richness of our world today. It speaks to the idea that, despite wars and pandemics and climate upheaval, humankind found time to dream, time to create art.”

The author of this piece in The Altamont Enterprise, Noah Zweifel, was featuring visual art by Westerlo artist Tammy Liu-Haller; her work is one seed among many in a giant collaborative art work assembling creative works of many genres, from literature to film.

I was struck by Zweifel’s take on the Lunar Codex project, imagining it reaching a “future so far off that humanity itself may no longer be around, possibly destroyed by the same relentless intellectual drive that brought us to the moon in the first place, the same that lets us create art and appreciate beauty only to then demand an answer from it.”

That resonates. Whether we are nearing the end or not, I take comfort from the very grounded human acts of growing vegetables, playing music with others, and making art. (Love, above all!) How potentially meaningful it is, though, to transport poems, or paintings, or films, to another realm—a strange nearby world of no atmosphere and a different gravitational pull. Even if no one sees it, we will have made it, and the making matters.

Details about the project can be found in my last blog post, but here’s a taste:

I was asked by my friend Joyce Brinkman, the inaugural Poet Laureate of Indiana and lead editor of the Polaris Anthologies, to curate one of three collections, taken from select regions. These Polaris Anthologies will be part of the payload of the SpaceX/Astrobotic Technologies’ Griffin Lander/NASA VIPER Rover scheduled to be on the South Pole of the moon by the fall of 2023. Our ambition is to represent each country on earth. There will be print versions here on earth, as well! Each anthology has a theme: Africa and Europe have the earthly themes of Rock, Air, and Water. Asia, North and Central America have the theme of Stars, Sun, and Moon. South America, Australia, and Antarctica have the themes of Ice, Wind, and Fire.

The deadline is Feb 15th, 2022. DEADLINE EXTENDED MAY 31!! There’s very little turnaround, so get your submission in fast!

Where to submit:

Polaris Anthology: Rock, Air, and Water (Europe and Africa, edited by Joe Heithaus of DePauw University) submit to polaristrilogy1@gmail.com

Polaris Anthology: Stars, Sun, and Moon (Asia, North and Central America, edited by Joyce Brinkman of Brick Street Poetry) submit to polaristrilogy2@gmail.com

Polaris Anthology: Ice, Wind, and Fire (South America, Australia, and Antarctica, edited by Jessica Reed of Butler University) submit to polaristrilogy3@gmail.com

*I now have a poem going up this summer! So does Purdue’s Donald Platt and my fellow editors Joyce Brinkman and Joe Heithaus.

Call for submissions—poetry to the moon!

DEADLINE EXTENDED! MAY 31, 2022

Call for Submissions: Poetry to the Moon!

As the spring semester of my Physics and the Arts seminar goes into full swing, and my students discuss astronomers like Henrietta Leavitt, Annie Cannon, Cecilia Payne (later Payne-Gaposchkin), Williamina Fleming, Jocelyn Bell (later Bell-Burnell), Vera Rubin, Lisa Randall and many others, I can only imagine what they would have thought about the opportunity to send poetry to the surface of the moon! Yet here I am, editing an anthology of international poetry for The Polaris Collection of the Lunar Codex Project, cosmic time capsules of art, music, & poetry curated by Filipino-Canadian writer & physicist Samuel Peralta.

I was asked by my friend Joyce Brinkman, the inaugural Poet Laureate of Indiana and lead editor of the Polaris Anthologies, to curate one of three collections, taken from select regions. These Polaris Anthologies will be part of the payload of the SpaceX/Astrobotic Technologies’ Griffin Lander/NASA VIPER Rover scheduled to be on the South Pole of the moon by the fall of 2023. Our ambition is to represent each country on earth with a poem that reflects our humanity, where we come from and where we might be going, even if only in spirit.

This is not space colonization, nor is it placing satellites to obscure our view of the heavens for commercial gain. This is the pure romance of the celestial objects. Space for digital art left on the surface of the moon. There will be print versions here on earth, as well!

Each anthology has a theme:

Africa and Europe have the earthly themes of Rock, Air, and Water.

Asia, North and Central America have the theme of Stars, Sun, and Moon.

South America, Australia, and Antarctica have the themes of Ice, Wind, and Fire.

DEADLINE EXTENDED! MAY 31, 2022

So, poets, write! The deadline is Feb 15th, 2022. [DEADLINE EXTENDED! MAY 31, 2022] There’s very little turnaround, so get your submission in fast!

Where to submit (official submission guidelines below):

Polaris Anthology: Rock, Air, and Water (Europe and Africa) submit to polaristrilogy1@gmail.com

Polaris Anthology: Stars, Sun, and Moon (Asia, North and Central America) submit to polaristrilogy2@gmail.com

Polaris Anthology: Ice, Wind, and Fire (South America, Australia, and Antarctica) submit to polaristrilogy3@gmail.com

More information:

The first of the three Polaris Anthologies will be edited by poet and professor Joe Heithaus of DePauw University and will seek work from Africa and Europe with the earthly themes of Rock, Air, and Water. The second anthology edited by Joyce Brinkman will include work from Asia, North and Central America with the theme of Stars, Sun, and Moon. The third anthology edited by poet and science writer Jessica Reed of Butler University will seek work from South America, Australia, and Antarctica with the themes of Ice, Wind, and Fire.

This project is hosted through Brick Street Poetry. Deadline Feb 15th, 2022. DEADLINE EXTENDED! MAY 31, 2022

Link to the Lunar Codex Project, three cosmic time capsules of art, music, and poetry curated by Filipino-Canadian writer and poet Samuel Peralta, who is featured here in a CNN article about the first edition of the Codex Project.

Again, the deadline for these anthologies is MAY 31, 2022

OFFICIAL SUBMISSION GUIDELINES:

The Polaris Trilogy 1 for Africa and Europe: Rock, Air, and Water

This is a Brick Street Poetry Inc. call, only for European and African poets, to submit poems for Volume One of our Polaris Trilogy Anthology. The three volumes of The Polaris Trilogy will be launching in a time capsule aboard the Space X flight scheduled to depart for the South Pole of the Earth’s Moon in 2023.

The window for submitting is short so act quickly. This is a unique opportunity. There is no cost to submit. Please read the guidelines thoroughly. If they are not followed exactly your entry may be discarded.

Guidelines

1. Send only new, unpublished work. By submitting you are declaring that your submission was written by you.

2. Preferred length is no more than one page. We will only rarely accept a poem that is more than one page long.

3. All work should be in 12 point Times New Roman and attached as a Microsoft doc. or docx.

4. You can send only one poem inspired by one or more of the three categories: Rock, Air, and Water. Please include the category name(s) in your submission and in the subject line of your email. For example, if you are sending one inspired by Rock and Air then type Rock and Air in the subject line.

5. How you approach these subjects is up to you. Your poem may be literal, metaphorical, magical, comical, etc. as long as it incorporates the subject in some way. Poems might be formal—traditional or innovative—or in free verse. We encourage forms representative of native cultures.

6. We are happy to receive poems that are not written in English, but you must include an English translation with your submission.

7. You must include your home address in your submission. Please put it both in your email and at the beginning of your poem. An aim of this anthology is to present a global picture of poetry today. We will not be reading blind submissions. Quality is paramount but location is also a determining factor in acceptance.

8. Send your submission to polaristrilogy1@gmail.com

9. Submit by 11:59 pm EST, February 15, 2022 MAY 31

10. Do not expect to hear from us unless your poem is accepted and don’t expect to hear soon. This is a worldwide project, and it could take all of 2022 before we will have final decisions made.

The Polaris Trilogy 2 for Asia, North and Central America: Stars, Sun, Moon

This is a Brick Street Poetry Inc. call, only for Asian, and North and Central American poets, to submit poems for Volume Two of our Polaris Trilogy Anthology. The three volumes of The Polaris Trilogy will be launching in a time capsule aboard the Space X flight scheduled to depart for the South Pole of Earth’s Moon in 2023.

The window for submitting is short so act quickly. This is a unique opportunity. There is no cost to submit. Please read the guidelines thoroughly. If they are not followed exactly your entry may be discarded.

Guidelines

1. Send only new, unpublished work. By submitting you are declaring that your submission was written by you.

2. Preferred length is no more than one page. We will only rarely accept a poem that is more than one page long.

3. All work should be in 12 point Times New Roman and attached as a Microsoft doc. or docx.

4. You can send only one poem inspired by one or more of the three categories: The categories are Stars, Sun, Moon. Please include the category name(s) in your submission and in the subject line of your email. For example, if you are sending one inspired by Stars and Moon then type Stars and Moon in the subject line.

5. How you approach these subjects is up to you. Your poem may be literal, metaphorical, magical, comical, etc. as long as it incorporates the subject in some way. Poems might be formal—traditional or innovative—or in free verse. We encourage forms representative of native cultures.

6. We are happy to receive poems that are not written in English, but you must include an English translation with your submission.

7. You must include your home address in your submission. Please put it both in your email and at the beginning of your poem. An aim of this anthology is to present a global picture of poetry today. We will not be reading blind submissions. Quality is paramount but location is also a determining factor in acceptance.

8. Send your submission to polaristrilogy2@gmail.com

9. Submit by 11:59 pm EST, February 15, 2022. MAY 31

10. Do not expect to hear from us unless your poem is accepted and don’t expect to hear soon. This is a worldwide project, and it could take all of 2022 before we will have final decisions made.

The Polaris Trilogy 3 for South America, Australia, and Antarctica: Ice, Wind, and Fire

(Psst! This one is mine!)

This is a Brick Street Poetry Inc. call, only for S. American, Australian, and Antarctica poets, to submit poems for Volume Three of our Polaris Trilogy Anthology. The three volumes of The Polaris Trilogy will be launching in a time capsule aboard the Space X flight scheduled to depart for the South Pole of Earth’s Moon in 2023.

The window for submitting is short so act quickly. This is a unique opportunity. There is no cost to submit. Please read the guidelines thoroughly. If they are not followed exactly your entry will be discarded.

Guidelines

1. Send only new, unpublished work. By submitting you are declaring that your submission was written by you.

2. Preferred length is no more than one page. We will only rarely accept a poem that is more than one page long.

3. All work should be in 12 point Times New Roman and attached as a Microsoft doc. or docx.

4. You can send only one poem inspired by one or more of the three categories: The categories are Ice, Wind, and Fire. Please include the category name(s) in your submission and in the subject line of your email. For example, if you are sending one inspired by Ice and Fire then Ice and Fire go in the subject line.

5. How you approach these subjects is up to you. Your poem may be literal, metaphorical, magical, comical, etc. as long as it incorporates the subject in some way. Poems might be formal—traditional or innovative—or in free verse. We encourage forms representative of native cultures.

6. We are happy to receive poems that are not written in English, but you must include an English translation with your submission.

7. You must include your home address in your submission. Please put it both in your email and at the beginning of your poem. An aim of this anthology is to present a global picture of poetry today. We will not be reading blind submissions. Quality is paramount, but location is also a determining factor in acceptance.

8. Send your submission to polaristrilogy3@gmail.com

9. Submit by 11:59 pm EST, February 15, 2022 DEADLINE EXTENDED! MAY 31, 2022

10. Do not expect to hear from us unless your poem is accepted and don’t expect to hear soon. This is a worldwide project, and it could take all of 2022 before we will have final decisions made.

Reviewing Rae Armantrout's Conjure

I recently reviewed Pulitzer Prize winning poet Rae Armantrout’s latest book, Conjure, nominated for the PEN/Voelcker Award for Poetry, in Jacket2. It was delightful to re-read her so closely, as I have always been a great admirer of her poetry in general, and in particular, her use of physics in her poetry. She is fiercely inquisitive and philosophical.

Here’s an excerpt (really an excerpt—it’s a longish review!):

How can anyone engage with language in an essential way now? The numbness brought on by the language of politics and advertising — one that the Language writers of the 1970s and ’80s sought to quell — has been compounded by global capitalism, a ravaged planet, social media, and the rest of the internet’s anesthetizing algorithms. And yet it’s as if Rae Armantrout moves through the world in just this essential way, experiencing language in its most elemental, and often absurd, form: “Would you like the ability / to add a location / to your tweets?”[1] She seems to refuse the heuristics the rest of us adopt, those mental shortcuts that subtly grant permission to all manner of cyber-commerce we’re immersed in — or at least, she’s bearing witness: “My screen claims / I have ‘new memories.’”[2] But even as she engages with an evolving language increasingly polluted with techno- and social jargon and dystopian culture, even as her poems are populated with photobombing and zombies, Armantrout never shies from having something hefty to talk about. She has earned her reputation as an outstanding Language writer whose work attests to a singular mind taking on subjects of formidable substance.

Armantrout is a philosopher’s poet, and her new collection, Conjure, is a paragon of her bare language in search of bare truths (often by way of physics) dotted with her signature irreverence. […]

Physics is a discipline of subtle concepts rife with potential for distortion, but Armantrout never cheats. While we’re all bound to be unsettled by certain aspects of relativity and quantum mechanics, she does not settle for the lazy takeaways that a casual outsider might run with. She takes physics seriously as a method of inquiry, even as she maintains her skepticism and sense of humor. When she interrogates the language of physics, the outcome can be a playful seesaw of claim and doubt. Here is palpable frustration in part one of “Natural Histories”:

Since the irrational
“because I said so”
start,

they’d had their differences:

color that isn’t really
color, spin
that isn’t spin

because attitude’s
best
when it has no content.

Ask a physicist
what “charge” is;

he’ll say your question
makes no sense. (25)

The conceptually misleading labels we have for quarks may fall into some definite category for functional linguists, but they are vexing terms nevertheless: What point-like thing “spins”? On what axis? Certainly “color” is impossible in this realm. And for quarks we have the hybrid animal “color charge.” Even if one accepts that these properties have more to do with physicists’ calculations than any recognizable features, one feels there ought to be an answer — other than a number — for what these properties are. What makes one property different from the other, for instance? We want an answer in plain English, and it is simply not available. And, setting aside quarks’ “color charge,” this bothersome language problem pervades the entire invisible world of physics: even the familiar positive and negative electric charges, a physicist might tell you, are merely labels, and could have been called “silver” and “tiny” instead (and everything would have turned out the same way). But one with a probing mind is still apt to ask, “So they’re merely labels, but for what?” To refer to electric charge — positive and negative — is a convenient way to describe certain interactions, but it’s harder to define one except in terms of the other. As to the properties of quarks, they also ultimately amount to ways to describe interactions, and it would seem that at least a few equations and diagrams and years of formal study are required to answer these questions properly (that is, to a physicist’s satisfaction, but would that answer satisfy the poet?). There always seems to be some language evasion in physics, even when the language begins with precision (even Newton, who provided so much clarity defining mass mathematically, called it “a quantity of stuff”). In the end, Armantrout’s physicists offer us a “because I said so” ontology, one she might accept — at least provisionally — as she says a few lines up: “attitude’s / best / when it has no content.” Which feels right. And very Cheshire cat.

Read the full review online here!