{"id":167382,"date":"2024-04-25T10:26:56","date_gmt":"2024-04-25T14:26:56","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=167382"},"modified":"2025-09-22T11:43:11","modified_gmt":"2025-09-22T15:43:11","slug":"making-of-a-poem-maureen-n-mclane-on-haptographic-interface","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/04\/25\/making-of-a-poem-maureen-n-mclane-on-haptographic-interface\/","title":{"rendered":"Making of a Poem: Maureen N. McLane on “Haptographic Interface”"},"content":{"rendered":"
\"\"

The poem begins. Photograph courtesy of Maureen McLane.<\/p><\/div>\n

 <\/p>\n

For our series Making of a Poem, we\u2019re asking poets to dissect the poems they\u2019ve contributed to our pages. Maureen N. McLane’s poem “Haptographic Interface<\/a>” appears in the new Spring issue of<\/em> the<\/em> Review.<\/p>\n

How did this poem start for you? Was it with an image, an idea, a phrase, or something else?\u00a0\u00a0<\/strong><\/p>\n

This poem took wing, or distilled itself, during a conference on \u201cWriting Practice\u201d at Heinrich-Heine-Universit\u00e4t D\u00fcsseldorf in September 2022. I started writing while listening to the closing remarks. The scholar Andrew Bennett had given a talk on Keats vis-\u00e0-vis haptographics, a term I hadn’t heard before\u2014that was one spur. Keats is someone I\u2019ve read and thought about for a long time (in one wing of my life I work on Romantic-era poetry). Bennett had spoken about Keats\u2019s handwriting\u2014how moving it can be to encounter it\u2014and his letters, and the matter of \u201cliterary remains.\u201d Some months after the conference, I looked up haptographics\u2014one of the first hits on Google tells you that \u201chaptographic technology involves highly sensorized handheld tools\u201d\u2014is a pen such? Haptography is a technique for \u201ccapturing the feel of real objects\u201d\u2014is this what Keats was up to, capturing the feel of things (experiences, emotions, movements of thought)? I think so. Is this still poetry\u2019s aim? These are questions the poem implicitly pursues, but I can only say that having written the poem. There was no thesis-in-advance.<\/p>\n

At the conference, I was intermittently taking notes and making notes while others were talking. Having a pen in my hand probably spurred that kind of dreamlike composition. The conference raised questions about writing, mediation, materiality, of the intersections between technology and art, of the sensorium. The human sensorium is key Keatsian terrain, and he is preoccupied too with poetic ambition. Other things in the mix included ambient concerns about AI. During the conference, one scholar invoked the term human writers<\/em>, about which I noted in my notebook, \u201coy retronym.\u201d A lot of floating things were concretized in the drafting.<\/p>\n

\"\"

Notebook pages. Photograph courtesy of Maureen McLane.<\/p><\/div>\n

How did writing the first draft feel to you? Did it come easily, or was it difficult to write? (Are there hard and easy poems?)\u00a0\u00a0<\/strong><\/p>\n

It was quite easy to write, a kind of channeling\u2014I was probably usefully disinhibited, doing this while also listening, a kind of parallel play \u2026 or lyric dispossession.<\/p>\n

Who is the speaker of this poem?<\/strong><\/p>\n

I guess you could say that the speaker of the poem emerges en route as \u201cJohn Keats\u201d\u2014some amalgam of the figure of Keats, a kind of AI Keats, and me. So there\u2019s an \u201cI\u201d generated out of some weird processing of \u201cJohn Keats\u201d\u2014as poet, historical figure, representative case of and for poetry, persona\/mask. The speaker is a kind of Keats-bot, perhaps. Our bots, ourselves.<\/p>\n

How did you come up with the title for this poem? <\/strong>\u00a0<\/strong><\/p>\n

I was drawing on the title of Bennett\u2019s talk, and my poem title was first \u201cHaptographics,\u201d as you see in the notebook, but ultimately became \u201cHaptographic Interface.\u201d I hovered for a while between the two, but the bot poet \/ poet-as-bot ultimately seemed to be an interface, and that seemed central to the poem.<\/p>\n

\"\"

A printed revision of the poem. Photograph courtesy of Maureen McLane.<\/p><\/div>\n

Were you thinking of any other poems or works of art while you wrote it?\u00a0<\/strong>\u00a0<\/strong><\/p>\n

I don\u2019t know that I was thinking of anything, per se. Things came to mind and popped up organically\u2014or robotically!\u2014as I was writing, including Keats’s \u201cIsabella, or the Pot of Basil,\u201d and his sonnet \u201cOn First Looking into Chapman\u2019s Homer,\u201d where he invokes a \u201cpeak in Darien.\u201d \u201cIsabella\u201d is a very strange, creepy-sexy gothic neomedieval poem, and it probably occurred to me because I was working with a kind of creepy \u201cJohn Keats\u201d figure, and maybe because another conference-goer had mentioned the poem. To be honest, a lot of Keats can spontaneously bubble up for me\u2014key phrases and lines. So too, motifs from romantic literature, including debates about fancy versus imagination\u2014Coleridge is crucial for that.<\/p>\n

My poem is in part a tissue of quotation and a kind of weird channeling of those Keatsian motifs. In this way, the poem navigates between the logic of AI\u2014which presumes a massive devouring and sifting of existing databases\u2014and more local or traditional instances of poetic composition, what Susan Stewart has called lyric possession, or Derrida, in another key, has called hauntology. A Keats-bot brings its own hauntings with it.<\/p>\n

Also in the hinterland of my mind may have been two great recent books by critics\u2014Anahid Nersessian\u2019s\u00a0Keats\u2019s Odes: A Lover\u2019s Discourse<\/em>\u00a0and Erica McAlpine\u2019s\u00a0The Poet\u2019s Mistake<\/em>. Nersessian\u2019s book gives us a deeply lovable, charismatic, politically progressive, and brilliantly sensual Keats. Keats\u2019s biography haunts the poem in various ways\u2014his frustrated love for Fanny Brawne, his incredibly rapid development as a poet in his early twenties, his terrible early death in Rome from tuberculosis. The Keats-bot figure of the poem is partially that biographical Keats and partially a furious or alienated posthumous Keats, which he could also be, despite general hagiography. McAlpine has a great reading of \u201cOn First Looking into Chapman\u2019s Homer,” which famously features a mistake, placing the conquistador Cortez upon that \u201cpeak in Darien,\u201d gazing at the Pacific with a wonder analogous to Keats\u2019s on first reading George Chapman\u2019s translation of Homer. As McAlpine notes, it was Balboa, not Cortez, who first looked at the Pacific from the isthmus of Darien. Now we\u2019re really in the weeds, but McAlpine\u2019s exploration of poetic intentionality and error points to the challenges raised by a Keats-bot\u2014what accounts of poetic intention or poetic making are plausible for us, at this juncture? \u00a0What versions of poetry are obsolete\u2014and are \u201chuman writers\u201d obsolete? The poem circles and does not answer these questions.<\/p>\n

 <\/p>\n

Maureen N. McLane’s most recent book is the essay collection My Poetics<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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