OOO Vonadi

[Weeded]

[Oddly, first attempt at a response was envanished before complete.  Hmm.]

Meaning no offense, this work seems to present a wonderful parody of output from a Large Language Model (LLM) in poetic form.  As LLM art has certain characteristics (five-legged horses, one-legged men, fuzzy or abrupt backgrounds, inconsistent perspective) the mark of LLM poetry is in its probabilistic phrase completion.  That is, word after word or short phrase after short phrase is chosen because it's the most likely rather than for meaning.

In the present work, this characteristic appearance is present in some cases - by design of its human author.  The effect is often striking, for example in 

The angels cry through eyes of repentance

where there's a kind of hopscotch effect:  "angels" provokes "repentance"  and "cry" while "cry" provokes "eyes."  But this is also how the (human) creative process works:  playing with matched, mismatched, and simply off-the-wall associations until something clicks.  Perhaps a LLM could be altered (enhanced?) by forcing it to sometimes do peculiar or "wrong" things, as (in art) they are forced to paint historic figures in blackface.  Which, if it weren't such a trope for LLMs by now, could make us think in what-ifs.

Anyway, it's an interesting poem and I don't mean to downgrade it for my idiosyncratic view of it.

Hey Duke, interesting response! I wonder what the interpretation would've been like 10 years ago, before this AI crap. Probably would've just called the angels line cliché or something, which seems analogous to your current analysis, and that I completely agree with after re-reading. Thanks for commenting
mike