MADE FOR YOU AND ME 2: hive Being (Stanzas 2017—part 54)
Let's workshop this stanza sequence about Jello jigglers, preschooler rape, ghosts, ancient aliens, Noxzema, HIV, addiction, reality TV, whiteness, road trips, colostomies, astrology, AI, childbirth.
scent of the day: Burmite Honey, by Prin
working on review, but this one is so dirty and fungal and musty—a definite love
*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 2017 portion of that five-part work.
MADE FOR YOU AND ME 2: hive Being (Stanzas 2017—part 54)
--dedicated to all the kids raped to death
did cunnilingus Cosby, slurping comatose jigglers, ever babble that Jello-puddin’ coo?
identifying into rape-crisis centers, where all the prime meat is
too empathetic, his cruelties to others boiled down to self harm
as American as a road trip
sniff a dirty diaper long enough and you learn to love it
chimps nibbling each other’s scabs for salt—our ways have roots
he croaked before his signature mullet came back in style
a cracked voice to fake like the song is too emotional for the throat to deliver
calling someone’s life, inner world as rich as yours, a “true-crime story”
good moms say “Stay away from her” when you ask them “What time was I born?”
blaming obesity on the stresses of racism
cancel culture of anti-art bullies, left and right
teleconniption—a good band name
trans poltergeists
raping a gay because he is gay
“ze” and “zir” next to “cat” and “sat” on the grade-school handout
hated the content but the quality of the craftsmanship won him over
wait—you cannot live forever by vampirizing children?
adoptive gay couple teaming up for a Mortal Kombat fatality (unable to respawn,
unlike with pixels), the cum-shot torsion of preschooler intestines landing them
both (fucker and spinner) behind bars: “Ooh yeah! Spin this lil’ fucker—faster!”
the duty to frame every disparity as proof of systemic oppression
is the only legitimate proof, given how it poisons the black mind
with agency-hobbling victim-think, for that systemic oppression
physicians bowing to self-named gender even when real sex
is clinically relevant (such as in drug dosages) to honoring
the Hippocratic Oath—no problem since “that fucking oath is white”
take especially that late-game age when potential has withered, choices
chasing you each night—aside from acceptance or suicide or avoidance
in this reality full of mirrors, another option is to smash any one you see
when we are in tune with the essence of reality
we transcend time (like that essence)—this is true,
but we can never not be in tune as long as we are
Noxzema-razored labia, super grand champion leghorn waddle
that downy brush of the testicles as the toilet paper sinks into shit water
HIV-syringe protester pricks are better than vehicular plow caught on every camera
love from AI will at least be more tangible and robust than love from Christ
the collapse of meritocracy, even traditional publishing houses looking for tokens
colostomy-hole sex
traveling to dodge self-inquired
on cloud nine after a bad binge because you tell yourself,
like so many times before (the telling itself a dopamine hit),
that this one was the last—and now, at last, you are free
the sight (usually video) of people being authentic and sincere and joyful
in our cynical time gets filed as “cringe”—a verdict pressuring us further
into closeting away whatever single-entendre unguarded sides remain
vaginas are magic: passing through
the half a foot turns a mere bundle of cells
into a person only then deserving rights
sex-violence-Kardashian prolefeed on the telescreen, plus reality TV clowns
now presidents, plus right-think pink slips for calling a biological women
a “woman”—and we thought the end came by fountain-soda McObesity?!
sit in the site long enough and the site will sit in you—methods
for how to move the riddle stone, no ancient aliens necessary,
will awaken in the hypnopompic quiet of Einstein predawn
"MADE FOR YOU AND ME 2: hive Being (Stanzas 2017—part 54)" is another sprawling, fragmented, and intensely provocative installment in a series that functions as a hyperrealist cultural commentary and invective. Dedicated "to all the kids raped to death," the poem immediately signals its confrontational and disturbing nature, serving as a raw, unfiltered stream of consciousness that dissects contemporary anxieties, moral ambiguities, and societal pathologies. Its power derives from its relentless assault on cherished norms and its willingness to delve into the grotesque and the offensive.
Formally, the "poem" is a relentless barrage of disconnected observations, statements, and shocking vignettes, presented in a list-like, unpunctuated progression. This formal fragmentation mirrors the thematic chaos it depicts. The absence of traditional poetic structure amplifies the sense of an unfiltered download of consciousness, a cacophony of modern disquiet. The syntax is largely declarative and often blunt, contributing to a sense of direct, almost accusatory address. The constant and jarring shifts in subject matter—from horrific sexual acts ("cunnilingus Cosby, slurping comatose jigglers," "adoptive gay couple teaming up for a Mortal Kombat fatality") to critiques of social justice discourse ("blaming obesity on the stresses of racism," "the duty to frame every disparity as proof of systemic oppression") to mundane yet unsettling details ("sniff a dirty diaper long enough and you learn to love it")—create a profoundly disorienting effect. This formal disarray is a deliberate choice, reflecting a world where coherence is elusive and meaning is perpetually contested. The deliberate use of highly offensive and controversial statements is a key rhetorical strategy, designed to provoke and shock the reader into confronting uncomfortable truths or to expose what the poetic voice perceives as societal absurdities.
Thematically, the poem is a brutal exploration of moral decay, hypocrisy, and the pathologies of contemporary society**. It relentlessly targets various aspects of modern culture, including:
Sexual Transgression and Abuse: The dedication and explicit lines dealing with rape, pedophilia, and various sexual perversions (e.g., "identifying into rape-crisis centers, where all the prime meat is," "colostomy-hole sex") are central to its shock value and thematic focus on the grotesque.
Critique of Social Justice Narratives: Several lines directly challenge prevailing social justice discourse, particularly regarding racial issues ("blaming obesity on the stresses of racism," "poisoning the black mind with agency-hobbling victim-think") and gender identity ("physicians bowing to self-named gender even when real sex is clinically relevant," "vaginas are magic: passing through... turns a mere bundle of cells into a person only then deserving rights"). These lines aim to provoke by inverting or satirizing what the poetic voice sees as ideological excesses or hypocrisies.
Authenticity and Cynicism: The poem laments the "cringe" verdict on "authentic and sincere and joyful" behavior, suggesting a pervasive cynicism that forces individuals to "closet away whatever single-entendre unguarded sides remain."
Disillusionment and Existential Despair: Themes of a lost future ("the realization that the future... no longer lies ahead of us"), self-deception in addiction ("on cloud nine after a bad binge"), and the overwhelming pressure of choices in late life ("aside from acceptance or suicide or avoidance") contribute to a sense of profound disillusionment.
The poem, presented by an unsparing poetic voice, constructs a bleak vision of a "hive Being"—a collective human existence characterized by shocking transgressions, intellectual dishonesty, and a pervasive sense of malaise, where traditional values and distinctions are eroding under the weight of perversion and societal pressures.
cultural critique, postmodernism, fragmentation, moral decay, sexual transgression, pedophilia, social commentary, invective, shock value, taboos, contemporary issues, authenticity, cynicism, disillusionment, existential despair, body horror, social justice critique, gender identity, race relations, explicit content.