4.30.26: Untitled 3 #41

    I’m here, Dad.  But I was seeing Ursula.  i wonder, then, if Gwen had the ability to reach me, then maybe she also had the ability to contribute to my creative endeavors.  Sounded plausible.  You’re not the only one  that was Ursula talking to Gwen . . . i can’t manage all that.  The were saying I’m wonderful—was I privy to the line?  I am a kind of switchboard operator.  Calls come and go through me—a hub, of sorts.  Still feeling this annoying semi-drunk feeling (minus the feel good chemicals) and couldn’t do much math today either—although made critical progress in the time allotted.  Oh, well.  Sometimes it’s better to quit before trying to learn so much that you run out of space to store it and process it between one working day and the next.  What was I also thinking?  I’m freaking hungry; don’t  know what that was about.  “Once I get off the risperidone, and I can eat lunch again, maybe we can have lunch together.”  Sounds good  but, i wondered, does Ursula eat lunch?  Maybe not.  I know she doesn’t take a lot of breaks—and her teeth look kind of white so she must not fuel everything with coffee.  Hey, that’s great.  I wonder—is there anything negative about her?  Other than the fact that she likes to argue?

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Novels in real time

4.30.26: Poem Untitled 1 #36

This portrays a mind in distress, caught between anxiety and withdrawal. Early lines suggest emotional confinement—“a general sense that I can’t be free”—despite the absence of physical pain. Love appears distant and distorted, symbolized by the strange image of “a bear…with a super long tongue,” hinting at both desire and unease. The speaker references substance absence—“haven’t had a drop since time began”—yet later imagery like “double-shot of rum” suggests conflict. Disjointed passages reflect intrusive thoughts and paranoia (“they’re coming for me”), while shifts in voice blur self and other (“combine your voice and mine”). Intellectual metaphors like “log space” and “oscillations” mirror mental instability. Ultimately, the poem captures a struggle for coherence, truth, and peace amid overwhelming internal noise.

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Book-length poems

4.28.26: 1 Album 15: Root beer and Him

This unfolds through lyrics that move from (everyday) images, self-reflection, and surreal turns of phrase (“mix root beer and Him,” “I want to be the greatest artist”) . The text feels associative rather than linear, as if thoughts are surfacing in real time. The vocal line follows that quality: it moves in clear, singable shapes but avoids long lyrical arcs, instead delivering the text in compact, speech-influenced phrases that repeat or echo in contour. The guitar part is more structurally active, introducing shifting figures and harmonic colors that don’t simply mirror the voice. At times the two align, but often they feel slightly independent—like parallel streams rather than a single fused gesture. That loose coordination creates a tension between clarity (in the vocal delivery) and instability (in the underlying musical motion).

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Songs

4.28.26: Untitled 3 #40

    nice to know that someone else goes on a rant every now and then—but what if we blow up?  “that’s a chance i’m willing to take for love.”  then somebody said, and it sounded kind of like my Dad’s voice, “we appreciate the prompt response.”  that was probably Mozart talking; i don’t know—maybe it was just my Dad talking.  I suppose that’s possible.  but if it were my Dad talking I might expect to see Mozart in my mind’s eye, for example, since my Dad represents Mozart and Mozart represents my Dad.  How is the music going, anyhow?”  “Well, I’m trying to talk myself out of it, but I’m thinking of recording another song today.”  And the instrumental pieces—the work that, given the size of your brain, people expect from you?  Good point.

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Novels in real time

4.28.26: Poem Untitled 1 #35

This poem reads like a feverish monologue that swings between intimacy and accusation. The speaker shifts from surreal imagery (“sheer for jello,” “bold zephyr”) to raw confession (“I threw out my shoulder trying my darndest to get ready for You”) and biting social commentary (“all the whites move south, toward Florida”). Relationships blur—lover, sibling, and society collapse into one unstable “you.” Moments of tenderness (“I love You, my darling”) are undercut by chaos, vulgarity, and resentment (“making every possible mistake and doing it on purpose”). The voice feels unreliable, oscillating between grandiosity (“on the edge of something… totally grand”) and collapse (“not all here”). Repetition of performance imagery—television, skits, makeup—suggests an ego that is staged or distorted. So the central tension lingers: is this sarcasm masking sincerity, or sincerity unraveling into sarcasm?

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Book-length poems

4.26.26: Untitled 3 #39

     Now i was tuning—I’d done some tuning while painting, which wasn’t something i normally did—i normally just used my own voice—if i even thought about it at all—but today I was touching base with Ursula’s voice every so often.  Not as much as I should, but enough to count as a change in my pattern.  i like clothes!  I can’t be seen wearing the same thing too often!  Now, Ursula would never say something like that out loud, but I often saw her in outfits that I’d never seen before—and I was wondering how she fit all those clothes into her closet, especially when, considering her net worth, it didn’t seem likely to me that she could afford a large apartment with a spacious closet.  So was she buying clothes and then giving them to good will?  I don’t know.  She must have been storing them at her mom’s house or something.

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Novels in real time

4.25.26: Untitled 3 #38

     So my Dad caught me writing a poem about “Ocasio-Cortez,” and warned me not to use her name because the FBI might get the wrong idea.  Don’t know what he would think of all this.  Maybe it would give him a panic attack.  But I haven’t done anything wrong—I could do something wrong if i tried to trick people and put words in her mouth—or say things that people might think were true, but I wasn’t doing that; i was clearly talking about telepathic communications, which, clearly, are not believable.  Now you might say, yeah, but you believe it.  And you’d be right, but, again, I’m not trying to make this woman look bad—the worst thing that could happen is that I’d come off as a creep and she wouldn’t like me, but nobody, so far, could punish me for having a crush on this real person.  Do you have any idea how many people have a crush on this person?  What are you going to do, put them in jail because they hope that she’ll break up with her boyfriend and be with them?  There’s not enough room in prison.  Anyhow, if she wants to be president, that’s something she needs to be conscious of—that people will fall in love with her.

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Novels in real time

4.25.26: Poem Untitled 1 #34

The poem depicts a speaker who wants exclusive emotional possession of his lover, yet is deeply unsettled by her independence—even when it sometimes aligns with his own desires. That alignment briefly reassures him, but also sharpens his insecurity, because it reminds him she is choosing, not belonging. For instance, his grand claims—“i am the dragon,” “the law of love”—try to frame their connection as inevitable, but her autonomy disrupts that illusion. When he threatens to “disappear” or reacts to perceived slights in her “pleasantries,” it shows he can tolerate her will only when it mirrors his own. Otherwise, he experiences it as rejection. His idea of a future “true love” further reflects this tension: he seeks someone whose independence won’t challenge him. Ultimately, he doesn’t reject her autonomy outright—he resents being made aware of it, because it undermines his sense of control.

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Book-length poems

4.24.26: Poem Untitled 1 #33

The poem shows a speaker using a lover as a channel to send something beyond the present moment. When he says her voice is like “my son…or some angelic daughter,” it points to a future reader—someone not yet here who might need guidance. Lines like “if I don’t draw them a map” suggest he’s documenting confusion so another person can navigate it later. The lover becomes a medium: “speaking to me by speaking through You.” At the same time, he’s dealing with long-term frustration (“no dice kiddo…for years”) and social alienation (“basement dweller”), which bleed into anger at culture and authority. The mix of religion, sex, and nation shows him trying to encode a message big enough to matter—something raw and urgent that survives him.

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Book-length poems

4.24.26: Untitled 3 #37

     taking a Dr. Pepper to the head; wondering, basically, if we can change the subject—since, somehow, I feel i’m in hot water.  You have made me angry  but that wasn’t her talking to me—that was her talking to her boyfriend—but since the things she said to her boyfriend might’ve been meant for me, well, she was talking to me, possibly, and, if she was angry, then, well, she was angry with me.  Did it have to do with my ingrained, visceral, almost instinctive racism?  I didn’t think so, because i think deep down Ursula knew, despite her need for assurances, that she was, in fact, superior to most white women, if not all of them, both because of her looks and, also, because of her job.  I never met a blond that compared to Ursula, and it seemed more likely that I’d die a bachelor because of it.  When it comes to relationships I didn’t want to feel like each new person was a step down—beauty-wise—from the last.  If anything, they look better—to a point; the wild card being their age.

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Novels in real time