Julian Gough

There's an enjoyable discussion of spam poetry going on, over at the Guardian Books blog.  I just posted a contribution there, so I may as well repeat it here...

I'm a fan of spam. I like the way that, beset by predators, predatory itself, it evolves with furious speed. I like to have a dip into my spam box every couple of weeks to see the new trends evolving (like the recent "What a stupid face you have" / "You look so stupid in this photo" variations.)

Ben Myers is right on both points, it's a stunning resource for poets, but to make good poetry out of it you have to be a very good editor. Alive to nuance and resonance. I've been playing with spam poems for years. (Not just spam: this week, I wrote two poems I'm very pleased with, constructed entirely from the legal disclaimers on poetry websites.)

By using spam, and other internet debris, poets can essentially outsource free association. But the best comment on the perils of the method comes from W.H. Auden, in a letter to the poet Frank O'Hara, long before the internet:

“I think you (and John {Ashbery} too, for that matter) must watch what is always the great danger with any ‘surrealistic’ style, namely of confusing authentic nonlogical relations which arouse wonder with accidental ones which arouse mere surprise and in the end fatigue.”
-W. H. Auden

If your ear/nose/throat/soul (add to/delete as appropriate) are alive to authentic nonlogical relations, then spam and all the other digital junk of the internet are your friend. They can jolt you out of the deep groove of habit. The first and hardest step in surprising and delighting others is surprising and delighting yourself.