longer.blue

~ Salty tears corrode Circuits of our destruction A deliverance ~ This poem recasts the relationship between human vulnerability and technological systems not as tragedy, but as liberation. Where destruction might typically signal an ending to mourn, here it becomes the very mechanism of release — and that inversion is the poem's quiet radicalism. The prose framing is essential context. The tears belong to a specific, embodied person — someone seated at a keyboard, embedded within the machine world, yet still irreducibly biological. The keyboard is no accident of setting; it is the interface where human intention and technological execution meet, the threshold between flesh and circuit. That tears fall here, at this precise junction, is the poem's central image. Biology intrudes on technology, and the intrusion is not a malfunction but a reckoning. The haiku tightens this into three precise gestures. "Salty tears corrode" again opens with the body's chemistry acting upon the machine. Salt is ancient, elemental, oceanic — one of the oldest substances in human experience — and here it does what it has always done: it breaks down, it dissolves, it unmakes. But crucially, what it unmakes matters enormously. "Circuits of our destruction" names the technology not as neutral infrastructure but as something already in the service of harm — man and machine together complicit in a shared destructive enterprise. The circuits are not innocent victims of corrosion; they are the architecture of something that needed to be undone. "A deliverance" transforms everything that came before. The corrosion is not loss — it is rescue. The biological act of weeping, involuntary and profoundly human, accomplishes what resistance or reason perhaps could not. There is something almost miraculous in this: that grief, the most intimate expression of our aliveness, carries within it the power to short-circuit destruction itself. Life, in its rawest and most unguarded form, becomes the agent of salvation — not despite its fragility, but precisely because of it. ~~~~~~~~~~~~~~~~~~~~~~~~ To support me, visit: https://tinyurl.com/andy-rukes ~~~~~~~~~~~~~~~~~~~~~~~~