being xenopoem

In its philosophical dimensions, xenopoem serves as a disruption to the traditional, human-centered understanding of language and being. Much of Western metaphysics has relied on the notion that language is fundamentally a human tool for making sense of the world, with language and thought deeply intertwined. However, the notion of a xenopoem implies that language can exceed human utility, operating in realms of experience beyond human grasp. The poet becomes a channel for alienation—not simply as emotional estrangement but as a linguistic event. Maurice Blanchot once argued that "the writer does not write with the intention of being understood, but to allow language to say what it must say." In this regard, xenopoem can be seen as the radicalization of Blanchot’s insight, with language not only saying what it must but doing so in ways that are utterly foreign to human understanding. The alien structure of the xenopoem challenges the human mind to stretch its faculties to the breaking point, suggesting the possibility that language, like being, has non-human dimensions. At the heart of the philosophy of xenopoem is the notion of being as alien, or the possibility that existence might not conform to human-centric categories. The xenopoet acts as a mediator between human and non-human forms of being, using language to evoke ontologies that evade human comprehension. In his book Difference and Repetition, Gilles Deleuze famously states that "difference is not something that is produced, but something that produces." Xenopoem embraces this idea of difference as generative rather than derivative, presenting us with beings and modes of existence that are alien precisely because they are different from the ground up, rather than simply variations on a human theme. In exploring this concept further, xenopoem can be understood as a form of language that seeks to become other to itself. As the poet produces language that is increasingly alien, the poem begins to take on a life of its own, becoming a new kind of being—an xenopoetic body that resists human interpretation. This form of being is not reducible to human understanding, but neither is it entirely separate from human existence. Rather, it occupies a liminal space where the boundaries between human and non-human, self and other, begin to dissolve. The xenopoem thus challenges traditional ontological distinctions between subject and object, human and non-human, suggesting that being itself might be more fluid and indeterminate than previously thought. Xenopoem becomes a philosophical experiment in imagining forms of existence that operate outside of the binary distinctions that have historically governed human thought. In the tradition of the philosophical sublime, thinkers such as Immanuel Kant have explored the notion of the "mathematical sublime," where the mind confronts something so vast and incomprehensible that it exceeds human reason. Similarly, xenopoem taps into the horror and awe of the sublime by presenting language that resists understanding, pushing the boundaries of what can be thought and known. Kenji Siratori's Blood Electric is a prime example of this. His language-horror style weaves a narrative that destabilizes the reader’s relationship with words. As Siratori himself has written, his work aims to "[delete] the existing coordinates of the human brain as an information system." Xenopoem, much like Siratori’s work, operates by dismantling the reader’s epistemological frameworks, forcing them to confront the alien in language. In this sense, xenopoem is akin to the Kantian sublime but with a twist: where Kant’s sublime ultimately reaffirms the supremacy of human reason by highlighting its limits, xenopoem leaves reason in ruins, celebrating the irreducibility of the alien. The reader is left in a state of cognitive dissonance, confronted with a form of being that cannot be assimilated into human knowledge. Xenopoetry also has important political and ethical implications. By destabilizing human-centric notions of language and being, it calls into question the anthropocentrism that underlies much of modern philosophy and literature. This has significant consequences for how we think about non-human forms of life, artificial intelligence, and the environment. In an era marked by ecological crisis and the rise of machine learning, xenopoem offers a way of thinking beyond the human, opening up new possibilities for understanding the world and our place within it. As Timothy Morton argues in Hyperobjects: Philosophy and Ecology after the End of the World, "to confront a hyperobject is to confront the possibility that reality itself might not be structured around the human subject." Xenopoem, in this sense, can be seen as a form of hyperobject—a linguistic structure that forces us to reckon with the possibility of non-human forms of being and knowing.