Almost!
Within my reach!
I could have touched!
I might have chanced that way!
Soft sauntered through the village—
Sauntered as soft away!
So unsuspected violets—
Within the meadows go—
Too late for striving fingers
That passed, an hour ago!
Poem fractal
0.019 apart. A smaller distance means the lines are built more alike.
This number is read from the build of the lines. The bright edge is that number, carried outward until the pattern repeats.
0.0856 − 0.6450i
Drawing the boundary…
by Mina Loy
0.1045 − 0.6466i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Within my reach!
I could have touched!
I might have chanced that way!
Soft sauntered through the village—
Sauntered as soft away!
So unsuspected violets—
Within the meadows go—
Too late for striving fingers
That passed, an hour ago!
by Mina Loy
We have flowed out of ourselves
Beginning on the outside
That shrivable skin
Where you leave off
Of infinite elastic
Walking the ceiling
Our eyelashes polish stars
Curled close in the youngest corpuscle
Of a descendant
We spit up our passions in our grand-dams
Fixing the extension of your reactions
Our shadow lengthens
In your fear
You are so old
Born in our immortality
Stuck fast as Life
In one impalpable
Omniprevalent Dimension
We are turned inside out
Your cities lie digesting in our stomachs
Street lights footle in our ocular darkness
Having swallowed your irate hungers
Satisfied before bread-breaking
To your dissolution
We splinter into Wholes
Stirring the remorses of your tomorrow
Among the refuse of your unborn centuries
In our busy ashbins
Stink the melodies
Of your
So easily reducible
Adolescences
Our tissue is of that which escapes you
Birth-Breaths and orgasms
The shattering tremor of the static
The far-shore of an instant
The unsurpassable openness of the circle
Legerdemain of God
Only in the segregated angles of Lunatic Asylums
Do those who have strained to exceeding themselves
Break on our edgeless contours
The mouthed echoes of what
Has exuded to our companionship
Is horrible to the ear
Of the half that is left inside them.
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. The large form and the small form are the same kind of thing. A poem can be drawn that way. The shape of the whole comes from the shape of the lines.
Primunia is the name for the source of that order: the pattern under the pattern, already there in a tree, a shell, and a verse.
The number under the picture is the poem constant. It is read from the build of the lines: their length, how uneven they are, the size of the stanzas, the share of vowels, and the way the lines end. A new word moves the number when it changes that build. The same poem always gives the same number.
Drawn on its own, that number sits in a quiet part of the plane, and most poems would look like the same soft disk. So the number is carried outward along its own direction until it meets the edge of the Mandelbrot set, where the shape turns sharp. The picture is the Julia set of that meeting place.
Each point on the canvas is folded again and again by one small rule. Points that stay near the rule form the dark interior. Points that rush away become the coloured bands. The hue comes from the poem constant, and the brightest bands turn toward gold. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
Branching draws the poem as a tree. Each turn follows a line, and every smaller branch repeats that pattern. A longer line reaches farther. The letters at the start of a line bend the next turn. A higher share of vowels opens the branches wider.
The trunk takes its colour from the poem constant and warms toward gold at the tips. When the poem has more than one stanza, gold forks leave the trunk. Each fork is a stanza beyond the first, up to three. The tree divides where the poem divides. One stanza remains a single trunk.
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