The Reader as an Activated Participant

8. The Reader as an Activated Participant

Kushnir’s poetics also changes the role of the reader. In a conventional poem, the reader may expect the poet to provide sufficient transitions for interpretation. In a fold-based poem, some of that work is transferred to the reader. The poem does not explain every relation. It creates a field in which relations can be discovered.

This does not mean that anything can mean anything. The fragments are carefully selected and arranged. Their verbs, sounds, syntactic expectations, and historical implications create structured possibilities. Nevertheless, the reader must participate in producing the connection.

Exercise in Unfamiliar Understanding

The door says agricultural district.

The hand says mother.

The document says

temporary mineral adjustment.

The body says cold.

In the next language,

cold is written as a bird

refusing the northern branch.

In the language after that,

the bird is a number:

seven seven zero

one wing

no return

Please enter the number clearly.

I enter:

feather

feather

window

snow

The system replies:

meaning not recognized.

The bird replies:

continue.

The poem presents several systems for describing the same condition: institutional language, bodily sensation, image, number, and invented translation. None is entirely sufficient. “Temporary mineral adjustment” might refer to soil, medicine, industrial processing, or an administrative euphemism. The body simplifies the phrase to “cold.”

Cold is then translated into the image of a bird refusing a branch. That image is translated again into a numerical sequence. The speaker responds to the demand for a number with a sequence of images. The system rejects the answer, but the bird accepts it.

The reader is asked to decide which system possesses the greater understanding. The automated system recognizes only predetermined forms of meaning. The bird recognizes associative, poetic, and embodied communication.

This is Kushnir’s linguistic freedom in practice. The reader does not need a dictionary definition of every element. Meaning emerges through relation, repetition, transformation, and response. The poem trains the reader to tolerate uncertainty without surrendering interpretation.

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About the Author: Sarah B. Royal

Sarah B. Royal’s writing defies convention. Her poetry and prose traverse the boundaries between structure and spontaneity, often weaving together philosophical inquiry, cultural reflection, and personal narrative. With a background in experimental literature, she is known for crafting works that challenge readers to engage intellectually and emotionally.

Her acclaimed palindrome performance play, 777 – A Story of Idol Worship and Murder, showcases her fascination with mirrored storytelling and thematic symmetry. In o x ∞ = ♥: The Poet and The Mathematician, Royal explores the intersection of poetic intuition and mathematical logic, revealing a unique voice that is both analytical and lyrical.

Royal’s collections—such as Lost in the Lost and Found, Haiku For You, Lantern and Tanka Too, and the WoPoLi Chapbook Series—highlight her commitment to neurodivergent expression and poetic experimentation. Whether through childhood verse or contemporary fusion poetry, her work invites readers into a world where language is both a tool and a playground.

Sarah B. Royal continues to expand the possibilities of poetic form, offering readers a deeply personal yet universally resonant experience. Her writing is a testament to the power of creative risk, intellectual depth, and emotional authenticity.

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