Writing the bulk of the poem itself took me around 15 hours over the course of several days, excluding the CSS tables (whose construction I describe below). As Leigh Ann Hildebrand observed, there were classical influences at work in my efforts; I realized immediately that I would need to begin with an invocation of the Muse. (My poetic skills were not up to constructing dactyllic hexameters, and I had already settled on the haiku form.) I used Prof. Touretzky's article "The CSS Decryption Algorithm" as my main source for the technical details, but I set myself a strict rule against using hexadecimal constants, because they seemed unpoetic. Everything had to come back into decimal form, because a number is a number. I also felt that it was important to include passages honoring and praising heroes (even using an epithet in the traditional epic way: "wise Andreas Bogk", only partly metri causa) together with a substantial amount of context. After all, one of the ways long poetry maintains interest is by telling several stories at once, and by painting scenery. Finally, I felt that expressing the fear of censorship directly and repeatedly within the poem itself created an interesting tension. It emphasized that the poem had really been written by a human author with a human voice and his own interests and passions. Aware of the prospect of censorship, the poem confronts would-be censors directly and takes them to task. By contrast, most source code is relatively defenseless: it can't fight against its own suppression, and it gives less direct evidence of being in a human voice, leading some people to accept its stigmatization as "merely mechanical" or "merely functional". I feel that it is essential that the poem constantly pleads for its own life -- an effect accomplished comically yet powerfully by Joe Wecker in "Descramble (This Function Is Void)"Link
I write books. My latest is a YA science fiction novel called Homeland (it's the sequel to Little Brother). More books: Rapture of the Nerds (a novel, with Charlie Stross); With a Little Help (short stories); and The Great Big Beautiful Tomorrow (novella and nonfic). I speak all over the place and I tweet and tumble, too.