This text is an essay by Miles Mathis discussing poetry writing as an assignment and a drill. It begins with Mathis sharing flattering emails from readers who praise his intellect and the impact of his writings. He then transitions to discussing the current political climate and his distrust of established media and political figures, expressing his disillusionment with both presidential candidates and the perceived manipulation of elections. He touches upon his belief that internet censorship is prevalent, citing his experiences with email providers.
Mathis then shifts the focus to poetry, explaining his approach to writing. He rejects the modern trend of dismissing classical poets and advocates for a return to valuing beauty and meaning in poetry. He describes a specific drill for aspiring poets: to manually go through a dictionary, select uncommon and aesthetically pleasing words, and then use these words as a foundation for writing. He emphasizes that poetry, like other art forms, requires hard work, knowledge, and practice, contrary to the modern idea that it should flow effortlessly. Mathis concludes by suggesting that this word-gathering exercise, akin to a “library game,” can lead to unexpected poetic inspiration and encourages writers to trust their inner voice and aim for genuine artistic accomplishment rather than catering to critics.
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This text is an essay by Miles Mathis discussing poetry writing as an assignment and a drill. It begins with Mathis sharing flattering emails from readers who praise his intellect and the impact of his writings, mentioning Jonestown, Patton, Alan Turing, and the Beer Hall Putsch as subjects of his essays. He also notes critiques of Ron Unz and his “choir.” Mathis then transitions to discussing the current political climate and his distrust of established media and political figures, expressing his disillusionment with both presidential candidates and the perceived manipulation of elections. He mentions the New York Times and their potential demise if Trump wins or if the Dems “steal the election again.” He also references Kamala and Trump directly in this political commentary. He touches upon his belief that internet censorship is prevalent, citing his experiences with email providers like ProtonMail, Yandex, Google, Microsoft, and Yahoo, and his suspicion of the CIA running the internet. He also mentions his PO Box and a recent successful fund drive.
Mathis then shifts the focus to poetry, explaining his approach to writing. He rejects the modern trend of dismissing classical poets and advocates for a return to valuing beauty and meaning in poetry. He criticizes “Moderns” and their dismissive attitude towards classical artists like Shakespeare, Horace, Sappho, Basho, Hopkins, and Keats. He describes a specific drill for aspiring poets: to manually go through a dictionary, specifically mentioning the Shorter Oxford Dictionary, and select uncommon and aesthetically pleasing words. He emphasizes that poetry, like other art forms, requires hard work, knowledge, and practice, contrary to the modern idea that it should flow effortlessly. Mathis concludes by suggesting that this word-gathering exercise, akin to a “library game,” can lead to unexpected poetic inspiration and encourages writers to trust their inner voice and aim for genuine artistic accomplishment rather than catering to critics. He mentions the WEF and the Chinese model in his political commentary regarding potential governmental responses to public dissent. He also mentions the Phoenicians in relation to financial models. He refers to the “Muses” as a source of inspiration. He mentions the possibility of getting “Nobel Prizes” and compares critics to “Smurfs and Teletubbies.” He also alludes to “Kong” in his description of takedowns. He also mentions the CIA again in relation to political power.
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