4.23.26: Poem Untitled 1 #32

The poem presents a stream of voices blending absurd humor, discomfort, and social commentary. Lines like “fart in a hurricane: how rude!” and “this chunky woman is a mystery” establish an irreverent tone, while shifts to “mourning the death of an oak tree” and “darn the nursing home: i want to go home” introduce aging and loss. The speaker jumps between ideas—politics (“Ocasio-Cortez”), religion (“think of His cathedral”), and personal confusion (“chaos all around me—but it has some method”). Repetition of phrases like “roll tide” and strange juxtapositions suggest instability. Overall, the poem explores disorientation, mortality, and meaning through disjointed imagery, mixing crude humor with moments of reflection and existential questioning.

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Book-length poems

4.22.26: 1 Album 14: Tipping over a cow

The guitar part in *“Tipping Over a Cow”* is fluid and line-driven, combining melodic movement with partial chord shapes that shift across the neck rather than settling into fixed patterns . It moves between single notes and small harmonic groupings, often linking tones stepwise before jumping to new positions, creating a sense of continuous re-formation. This gives the part a searching, unsettled quality, as if the harmony is being discovered in real time instead of stated outright. That quality closely mirrors the lyrics, which shift rapidly between surreal, ironic, and confrontational images like “Charles Lindbergh was a Nazi” and “don’t look at me like that—if looks could kill.” The guitar follows the same mental movement, acting less as accompaniment and more as a parallel voice tracing the instability of thought.

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Songs

4.22.26 Untitled 3 #36

     What are you getting yourself into?  i didn’t know, but things were changing—shifting.  The ground was shifting a little, and, if you didn’t know any better, you might think that you would get swallowed up.  Nothing so complicated, right now, as intoning my voice on the consonants and Ursula’s voice on the vowels, except, in a way, it kind of was, because that’s what I was used to doing, so it took a little effort to paint over everything in Ursula’s voice.  So, reality check: most people are not a walking metronome that projects different voices.  Most people broadcast in their minds, when they’re winding down, the things that they said throughout the day.  They send out a blanket frequency that you can attach yourself to or not.  So, realistically, Ocasio-Cortez, at least, was not talking to me directly.  She was talking to others in a way that aligned with what she wanted to say to me—on my frequency, and then she was reporting those things, both to herself—as if she just wanted to remember something—and to others—but not exactly me and me alone.  To do that she’d either have to project my voice or project a substitute voice that she assigned to do this.  Hence, although Ursula, who was from the future, could count and project, Ocasio-Cortez, in her current form, could not.  At least that was overwhelmingly probable.

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Novels in real time

4.22.26: Poem Untitled 1 #31

The poem follows a speaker reflecting on a troubled past, guilt, and attempts at self-understanding. He describes “working for the devil,” suggesting a long period of secrecy, isolation, or inner darkness. He acknowledges making harmful choices, noting that “people got hurt,” and wrestles with how to integrate those mistakes, like a sculptor reshaping flawed work. Moments of intimacy briefly erase shame, yet confusion about God, existence, and human connection persists. The tone shifts between accusation (“you low down rotten weasel”) and self-address, revealing inner conflict. References to medication, fear, and “this illness bleeding out the corners of my eyes” suggest mental struggle. Ultimately, the speaker searches for redemption, meaning, and love while confronting guilt and illusion.

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Book-length poems

4.21.26: Untitled 3 #35

     getting a little stressed out over understanding some integral stuff—and so, consequently, i studied it a little over the past three days but did nothing on my actual paper.  Didn’t do much today—got too stressed out; got fidgety with an itch at the back of my throat—a desire, no less, for oblivion.  Now—I’d stopped taking the Lexapro altogether; so i had to be careful about getting stressed out—if it became a constant thing i might need to find another option—something that I could take instead of Lexapro, something that wouldn’t ruin my ability to have sex—and there had been some (but not enough) improvement in that area now that I’d been off it for a few days.  We’ll see what happens after a week and a half or so.  I guess this stuff can take a while to totally get out of your system.

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Novels in real time

4.21.26: Poem Untitled 1 #30

The speaker moves through a restless inner journey, blending humor, impulse, and self-reflection. He describes “getting drunk on Dr. Pepper” while listening to Hank Williams, pairing a playful image with a sharper awareness of himself. Writing poetry becomes a way to steady his mind, even as adrenaline and conflict rise (“it’s the reason we fight”). Surreal moments—like finding someone “hiding in the washing machine” or talking with a “wee man”—show a scattered, searching state of mind. He struggles with choices, resisting old habits (“go back on the pill”) while feeling urgency to act before it’s “too late.” Relationships feel uncertain and strained. By the end, he turns inward, seeking clarity and control while navigating chaos.

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Book-length poems

4.20.26: Untitled 3 #34

    Wow—you’re really moving freight!  I think she was excited because I’d figured out how to publish my music to those that could play it (like Amazon music)—in fact, in about ten days, I’d be able to listen to my jazz piece through Alexa, Amazon’s music (speaker) and player.  Now, I know what you’re thinking: that’s not such a big deal—nobody is going to be able to find you, and, even if they did, they might listen to one song for ten seconds and decide they weren’t interested.  So yeah, publishing the music was more about investing in a legacy than it was making money or getting any kind of notoriety whatsoever.  People, including Ursula, (and including me) needed to understand that.  But I think Ursula did understand that, and she was simply excited for me for what it was—something that she could turn on in the background at her convenience.

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Novels in real time

4.20.26: Poem Untitled 1 #29

The speaker moves through shifting emotional states. He imagines an “exquisite dress” kept in fantasy, while admitting his condition shapes how he relates to others, choosing isolation (“connecting…to my phone”) over engagement. He contrasts obsessive attraction with restraint, as when he admits wanting what he “can’t” have. Moments of action appear in vivid flashes: returning from the gym, watching “eyes popping out of nowhere,” and envisioning approaching someone he admires (like asking AOC for a kiss, then stopping himself). His thoughts spiral into intensity—praying for passion, fearing emotional distance, and imagining dramatic gestures like “coming…to your window.” Overall, the poem captures restless longing colliding with self-awareness and restraint.

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Book-length poems

4.18.26 Untitled 3 #33

     I was trying to get Ursula on the line but I kept seeing her picture and thinking: what’s there to write?  She already loves me!  But she wasn’t talking for like 20 minutes as I sat here drinking sparkling water and getting a little buzz off it.  I kept listening for some still small voice to speak up, but we’d pretty much covered where we’re at yesterday.  Or at least that’s how it seemed right now.  In reality, however, she was back there—but I was writing, in this instance, after painting instead of before—so she might be at a different address right now—I’m really not sure.  You want me to come back  there, she finally said something—so i told her, “of course i want you to come back.”  We’re going somewhere special, you and I.  i was only thinking, right now, about getting a truck, filling it up with paintings, and convincing one of my brothers to drive it.  We were running out of space here—so, yes, we must’ve been talking about space, or she was thinking about it, and how much of a problem that was going to be for me—since she can’t afford, to my knowledge, to look after me.  Eventually she will be able to, i think, but for right now?  She doesn’t curtsy for rich people—which is one of the main reasons i like her, but that also meant that we couldn’t be together.

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Novels in real time

4.18.26: Poem Untitled 1 #28

The speaker describes himself as “free-born and free-falling,” trying to rid himself of inherited hate while struggling financially and personally (“my vices cost money”). He imagines restarting life—“return to my home, marry His mother”—and reflects on how his art expresses his complicated inner state. He addresses a woman directly, wondering about physical intimacy (“will you press your breasts…”) and imagining that a lack of money keeps them apart. He insists on love and mutual respect despite differences, then shifts to humor and frustration about dating (“I can’t date AOC… can’t afford it”). In the second section, he imagines an alternate identity (“Nonny… on the other side of the sun”), criticizes AI and authority, and connects economic pressure (“gas prices”) to conflict. The poem ends with apocalyptic and surreal imagery about desire and imagined worlds.

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Book-length poems