MADE FOR YOU AND ME 1: hive Being (Stanzas 2016—part 24)
Let's workshop this stanza sequence about primitive condoms, the naturalness of everything, the Karate Kid, stereotypes from birth, hidden alcohol, safe spaces, cancel culture, addiction
Miami day 2!
buildings crop up from Earth as do trees, if you have the eye fish-bladder condoms Freudian dip how we lose ourselves in disguise is an expression of who we are outsourcing maniacs in need of new ways to avoid themselves love letters to imprisoned serial killers doing art for dead artists admired taking an interest in humanity at large after the alien encounter an identity crisis from the dissolution of the football team photomosaics built up from parts pertinent to the end product when he feels achy with flu he often groans “Miyagiiii!” as Sato does pinned under his karate log in the typhoon, which suggests the impact of the movie but also that Sato was at his sick low, threatening Miyagi even while pinned your roles in childhood play-acting— spy, cop, terrorist, collateral damage— following you the rest of your life tenacity to achieve some goal impossible for your constitution can be hilarious from the outside nothing higher than laziness had you explain away the daily poundings downstairs as something more mundane than a captive’s plea distressing mounds of flesh whiskey bottle in the woodshed narcissistic agonizing having virtues but lacking the wisdom to manage them—that is, to know when to act in accordance with them your comfort sources can turn on you: your teddy bear can trigger allergies (and even House Hunters, so long so soothing, is unbearable on hospice—HD pastels on people with peppy lives ahead of them) he anticipated the skydive, yes—but only (as it would appear to him) in retrospect we want to know ourselves and know what to fight, but voicing our flaws may very well serve to entrench them as they looked at themselves it was unclear whether it was reflexively or reciprocally no kid, surely, should be beaten up in school just because he cannot swim, but leave it to the melodramatic US to resort to nukes in its war against bullying, teaching kids they are perfect just as they are and labeling any identification of limitation “bullying” the rocking grunt it takes her to exit the sedan cutting prescription pills to make them last the all-too-human origins of profound art the mark of a victim culture is that they find silver-linings offensive artists long had to take measures to safeguard their strangeness, but the challenge is even greater in the cancel climate where those salivating to snuff out strangeness are those cult-convinced that they battle under the banner of radical inclusivism indignant for the pain-killing pleasure of it, not for remedying the issue (an issue whose remedy would block a route to indignance) the inability to move on from loss of a loved one, like obesity, is considered bad because it interrupts daily living and adds to stress, but soon it might be in style to tell them, like it is today to tell the obese, “Love who you are” and “Way to go” the best poets sift out the lasting from the expendable, knowing that all is lasting and expendable “It could have been worse,” he says: “my son could have died older, more entrenched in my heart” first it is a hit to do this, a hit to do that; then it is a hit even for basic functions the manipulative angle of confessing flaws (always in the right light, of course) is effective in that it seems a divesting of all such angles
This is a portion of an ongoing mosaic poem called Made for You and Me. This portion is from the first installment: hive Being (Stanzas 2016-2020). More specifically, it is from the 2016 portion of that five-part work.
Photo: youtube.com/watch?v=S0-6oQa5O2k