by Mark R. DeLong

Duke law professor James Boyle said an article on AI personhood gave him some trouble. When he circulated it over a decade ago, he recalled, “Most of the law professors and judges who read it were polite enough to say the arguments were thought provoking, but they clearly thought the topic was the purest kind of science fiction, idle speculation devoid of any practical implication in our lifetimes.” Written in 2010, the article, “Endowed by Their Creator?: The Future of Constitutional Personhood,” made its way online in March 2011 and appeared in print later that year. Now, thirteen years later, Boyle’s “science fiction” of personhood has shed enough fiction and fantasy to become worryingly plausible, and Boyle has refined and expanded his ideas in that 2011 article into a new thoughtful and compelling book.
In the garb of Large Language Models and Deep Learning, Artificial Intelligence has shocked us with their uncanny fluency, even though we “know” that under the hood the sentences come from clanky computerized mechanisms, a twenty-first century version of the Mechanical Turk. ChatGPT’s language displays only the utterance of a “stochastic parrot,” to use Emily Bender’s label. Yet, despite knowing the absence of a GPT’ed self or computerized consciousness, we can’t help but be amazed or even a tad threatened when an amiable ChatGPT, Gemini, or other chatbot responds to our “prompt” with (mostly) clear prose. We might even fantasize that there’s a person in there, somewhere.
Boyle’s new book, The Line: AI and the Future of Personhood (The MIT Press, 2024) forecasts contours of arguments, both legal and moral, that are likely to trace new boundaries of personhood. “There is a line,” he writes in his introduction. “It is a line that separates persons—entities with moral and legal rights—from nonpersons, things, animals, machines—stuff we can buy, sell, or destroy. In moral and legal terms, it is the line between subject and object.”
The line, Boyle claims, will be redrawn. Freshly, probably incessantly, argued. Messily plotted and retraced. Read more »

Donald Sutherland was a connoisseur of poetry. In the 80s I knew poetry-quoting doyennes from the glittering parties the Academy of American Poets threw as well as the Sudanese who recited their histories in song, but mostly I knew poets obsessed with competing with dead ones, with an eye toward their next book. Poets generally love poetry the way auto mechanics love cars. They don’t luxuriate in the front seat, or take long winding car trips through the Berkshires, they make sure the ignition catches and go on to the next one. Hearing Sutherland recite poetry you heard the Stanislavski method of poetry-recitation, an oral delivery straight from the mind as well as the mouth. Sutherland said he was manipulated by words, not as a ventriloquist but in the relationship between feeling and meaning. Likewise, after numerous tussles with directors Fellini and Preminger and Bertolucci – he even tried to get Robert Altman fired from M.A.S.H. – he decided he was merely the director’s vehicle. Poetry directed him.



In daily life we get along okay without what we call thinking. Indeed, most of the time we do our daily round without anything coming to our conscious mind – muscle memory and routines get us through the morning rituals of washing and making coffee. And when we do need to bring something to mind, to think about it, it’s often not felt to cause a lot of friction: where did I put my glasses? When does the train leave? and so on.
A good poem can do many things – be clever, edifying, provocative, or moving – but a truly great poem (which is to say a successful one), need only be concerned with one additional attribute, and that is an arresting turn of phrase. By that criterion, Ukrainian-American poet Ilya Kaminsky’s “We Lived Happily During the War,” originally published in Poetry in 2013 and later appearing in the 2019 collection Deaf Republic, is among the greatest English-language verses of this abbreviated century. Within the context of Deaf Republic, Kaminsky’s lyric takes part in a larger allegorical narrative, but that broader story in the collection aside, “We Lived Happily During the War” is arrestingly prescient of both the 2014 Russian invasion of Crimea and Vladimir Putin’s brutal and ongoing assault on the broader country of Kaminsky’s birth since 2022, including bombardment of the poet’s home city of Odessa. Yet even stripped of this context, “We Lived Happily During the War” concerns itself with the general tumult of modern warfare, both its horror and prosaicness, its sanitation and its tragedy. More than just about Ukraine, or Syria, or Gaza, Kaminsky’s lyric is about us, those comfortable Western observers of warfare who have the privilege to be happy and content at the exact moment that others are being slaughtered.



Prime numbers are the atoms of arithmetic. Just as a water molecule can be broken into two hydrogen and one oxygen atoms, 12 can be broken into two 2s and a 3. Indeed, the defining feature of a prime number is that it cannot be factored into a nontrivial product of two smaller numbers. Two primes that are easy to remember are