Then came the soft animals, the snake
and octopus, slinking along. You’ve seen
the octopus as escape artist, sneaking out
of cracks and holes, hiding in a tea pot,
plotting the big adventure. Now she moves
through chemical reaction, the first soft
robot, taking to the sea. Remember
that the real thing once disassembled
her own aquarium, waiting, bemused,
in the remaining puddle, for her custodian
to come. They say it was simply curiosity.
Now imagine her robot double dismantling
at will. That which we have tried to contain,
swimming off into the deep, re-emerging
like the snake that slithers into your garden;
its trapezoidal kirigami cuts in plastic skin
keep it crawling through bursts of air.
An innocuous slinky in colorful garb,
this robot can sidewind anywhere.
Now ask why everything now harbors
a weapon in your mind—do you dread
the snake under your own bed?
Is it the real tooth and venom you fear,
or this programmed body double here?
We’re told of a fall, a fault built on flesh—
the flesh of a fruit, the flesh of a woman—
now this manmade flesh, a reptilian test
of applied knowledge. Industrial sin
co-starring the latest sensation: a running
cockroach robot, sliding through cracks
to get to you, away from you, through
your walls. Extinction now eradicated,
bought: replacements on order. Enter
“Robotanica”—the world of the wild robot—
woodpecker, dragonfly, kangaroo, child—
unborn, they can all do the job. Two by two,
battery-powered to keep the world moving,
replacing their organic prototypes. Centipedes,
spiders, ants, termites, and robobees, these
are just the beginning of the evolving nation,
as if someone has decided to revise, start over.
This time using human labor, invention.