Auguration

I woke this morning from a dream in which the future
had been laid out before me like mathematics. All the assertions
of economists and other soothsayers about the sickening movements
of markets could be denied; and everything will be denied
everything—except that two plus two equals four.

The animal used in this auguration was the self-acting mule, a machine
that has arms and pincers, and can be made to perform
routine tasks tirelessly, without complaint except that it might
give a kick now and then. This animal, this algorithm without feeling
has been shitting in our society for years—and now we have found a use for it.

The dream did not turn out at all how I expected it to turn out.
That is how you know dreams have turned into nightmares.
We are all going to find ourselves crouching in a dark space
not together—that is, not acting in unison, as a group—but separately
and individually responsible in the fight that is coming.

The rulers, however—the presidents, governors and the rest—
who have always united for the purpose of our repression and
do not like to share any ground with other people
will be onboard their yachts and planes at the crucial moment
when promises are made and broken in the same breath, and things fall apart.

It is just then that the failure of truth will be its own punishment
and facts will stand out in stark relief, like someone screaming
on a cold night. It will be fight or die. A survivor will be left standing
covered in blood and it will not seem proper to talk about right or wrong
because some questions have always been answered this way.

 

Note: This poem represents ideas in ‘Chapter Two: The Metaphysics of Political Economy, Part 5’ of Karl Marx’s «The Poverty of Philosophy».
Published in Otoliths, 1 February 2017.
Robert Mapplethorpe (1946-1989), American Flag, 1977. Gelatin silver print, 19 3/4 × 15 15/16 in. (50.2 × 40.5 cm). Whitney Museum of American Art, New York.
Robert Mapplethorpe (1946-1989), American Flag, 1977. Gelatin silver print, 19 3/4 × 15 15/16 in. (50.2 × 40.5 cm). Whitney Museum of American Art, New York.