Four poems about fire: #4

A young man is celebrating, his white shirt decorated with pinned-on money.

In May of this year I wrote four poems. I forgot to post this one, which is both typical and interesting. It stands in juxtaposition to ‘Dirty Money,’ one of my earlier poems, which was quite popular but now feels too naïve.

It matters what kind of energy (scientists, did you just laugh) you choose to circulate. Bad mojo shouldn’t be passed on. It should be burned at a crossroads at midnight then buried under a sycamore.

Poem #4

(Dirty Money: A Retraction)

What is money?

is it food

is it hope

is it will

is it desire

is it disgust

is it denial

is it worth it

is it someone else’s problem

is it death

is it real

is it you

(2023)

The Rainbow Inevitable

I am catastrophically behind schedule on one of the most important books I’ve ever written so naturally instead of working on it today I wrote a semi-comedic essay about nothing specific that is somehow extremely relevant to modern life. [CW: events of World War II]


Nothing is true. All is permitted.

Hassan Sabbah ‘The Master of the Assassins’

You know if people are things around the house? Like someone’s a couch, someones’ a tv, someone’s a ninja blender.  I don’t mean what they do, like being the blender doesn’t mean you like to cook, it means you’re versatile but kind of noisy and high maintenance.  If you’re a tv you always know what’s going on, have all the tea and are prepared to spill it.  If you’re a couch you just chill and sometimes people find small change in you…

Me, I’m a mirror.  I do what you do.  This is different from being a people pleaser where you do what people tell you.  I think it has a lot to do with having moved a lot when I was growing, which meant I’ve been the new kid in class twelve times.

Think about that: I had to make new friends at school twelve fucking times.  And I had to, I couldn’t just retreat into books.  I’m not an introvert. I feed on the spiritual energy of the living, I mean of other people. Yeah, that’s what I meant.  And having to suss out new sources of not-shitness every fucking year was a lot of work.

So I mirror. I act like the people around me as much as possible until some of them accept me as one of their own.  Which meant my friend group at school usually looked like the cast of Napoleon Dynamite. 

Not now.  I have hot friends. Old, but hot.  Major dad bods. 

It’s funny, I get so much motivation from seeing the bodies of fit young trans men, and for a while I thought they were so fit because they were men but no it’s because they’re young. I’m old, at least on the internet.  Not write Facebook comments in all caps and sign off with best wishes, Will  old, but I grew up without computers having more than an occasional role in my education. And I went to some expensive fucking schools among that dozen I attended.  In fact, and if you know you know and perhaps this goes a long way to explaining my personality, I went to Montessori. 

Not just for preschool but for another four years after that.  Like a lot of alternative education Montessori gets a lot of stick for being a bubble of privilege that renders children unfit for the harsh realities of modern life.   And there is that, but also there’s also the bit where modern life fucking sucks, and you shouldn’t try and fit to it.  You should want to dismantle parts of it to render it safer and kinder. 

You see, none of our choices are inevitable.  Nothing we are doing now in this world of ours is inevitable.  The legislative branch of government, the middle managers of government—congress, senate, the people who craft these violent bureaucracies—would have us believe that whatever their program is, it’s inevitable. 

To quote my late friend Mike, the cabbie from Yonkers, get the fuck outta here

Despite what they say, we can in fact do anything we want.  We’re choosing to tear the earth apart and then fuck the pieces.  Our actions are choices, not fate. The entire planet cannot be held hostage by revelationists and the billionaires who mouth their rhetoric because it keeps us stupid and starved. Like what the fuck is this shit?

So I’m really enjoying the current trend towards unionization. For three decades I’ve sat and watched liars destroy the reputation of trade unions.  More exhausting bullshit, more rhetoric in service to mammon.  But the people united will never be divided, at least not in a permanent sense.

This is why I don’t believe in dystopias.  Other than the one we’re living in, but dystopia assumes a totality of control that no leaders have ever successfully maintained.  People will want to say Russia but a) they keep losing and b) even if we collate a thousand years of Asian history, it’s a fucking eye-blink to the fifty thousand years since humans invented culture.  

And that’s why dystopias never last.  Invention.  We are the most pernicious, curious, don’t-press-this-button button pressers to have ever crawled out of the primordial ooze. Terry Pratchett had a bit about the button that ends the world, that you could hide it in the deepest cave guarded by dragons with a sign over reading DO NOT TOUCH and before the paint was even dry someone would push the fucking button.  

We are pernicious.  It means we wear down all defenses, break boundaries by devious intent. Like Oskar Schindler.  No one should have resisted the Nazis, yet there were dozens of people like Schindler, not just the famous ones. Hundreds, thousands of people lying to the cops, lying to the SS, protecting their friends, in some cases protecting complete strangers. Dying to protect them. Dying to save them, even though the Nazi machine must have looked unstoppable.  Yet everywhere, wrenches in the works.  I’ve heard a possibly apocryphal tale that some of the scientists employed by the Nazis to beat the Americans to the invention of the bomb maybe weren’t trying as hard as they could have been, a high-water mark for quiet quitting. Escape after escape. The French Resistance movement. People who looked the most wicked form of totalitarianism in the face and then kicked it in the balls.

Nothing is inevitable.  Except I think our freedom is.  All of us together.  I don’t want to destroy anyone.  I want the tinfoil hat crew to put down their tiki torches and leave their mama’s basement and come out into the light with us. 

The rainbow? It’s made of light.  Don’t think of the beam that enters the prism as white.  It’s simply light, too bright for our mortal eyes, which is why we have rainbows.  If there were no colours, no difference, there would be nothing to see.  But we see rainbows.   

I don’t want to destroy the far right. I want them to notice the harm they’re doing to their own souls and then stop doing it.  I want everyone to feel safe and honoured.  If we resist you, refuse you, it’s because our safety matters more than your cringe reaction, your hurt feelings. What I truly want is for you to look at those feelings, find the hurt that’s keeping you from being fully alive, and let it go.  It’s not us that’s making you sad. It’s not the queer people around you living their lives that hurt you (at least I goddamn hope not.)  Something happened, and I know you’re scared to look at the damage, but being alive is a fucking gift.  You might not get another chance.  You’re can’t spend it turning your wounds inside out and rubbing the filth on everyone else.

Tough love here, but grow the fuck up.  Own your wounds.  Sorry, but you’re going to have to feel your stupid fucking emotions.  Start by letting go of the idea that people who feel deeply do it for fun.  We do it because we can’t help it. 

I sometimes hate how much I feel. It’s hard to talk to my loved ones about difficult shit because I feel not just my pain but theirs, and my goddamn people pleasing (there, I admit I do that too) means I’ll do anything to stop them feeling bad, including apologizing even when I don’t think I’ve done anything wrong. I cry a lot not because I’m weak but because it makes me feel better to have it out. 

If you still feel too manly to cry, consider that if you cry hard enough it feels like you’re puking. If you’ve ever really cried, over someone’s death, over your dog’s, anytime the tears are the least of it and you can’t even tell if you’re screaming?  That beats you up from the inside.  Dealing with that takes strength, dude.  Really feeing your vulnerable emotions is like skydiving—you just gotta go with it, bro. It’s scary but you’re going to feel better about yourself for gritting your teeth and taking the leap.

Feel the feels. Take the ride.  Grow as a fucking person, because the world owes you nothing.  You have to give to get.  Or god/dess help your soul.

Too cool for the crypt

My local shopping district, a cute and happily robust cluster of antique shops, fabric stores, and casual dining trends, hosted an event for World Dracula Day, celebrating the anniversary of the first release of Bram Stoker’s novel.

I thought, what better way to take advantage of the fact that I dress like (let’s be honest) Doctor Who on an extended 1889 story arc. Off I went to diligently assemble an appropriately sepulchral ensemble.  Aside from lacking long hair and having the wrong shade of top hat, I managed a very satisfactory homage to Gary Oldman in that grey suit (or Lucien Vaudrey if you nasty.)

In other words I looked great.  I look good in suits in general, and this outfit was so satisfying that I decided not to wear it to the vampire party. That is to say, I looked just how I like to look on the day to day, and the thought of calling it a costume was… 

It was fucking cringe, alright?  It felt like I was making a joke about myself. I am very, very aware that I dress differently than almost everyone alive (that’s much of the point) and so maybe I overthink my aesthetic, but there’s so little joy that we’re permitted in this economy that I’ve leaned way in on this thing that persistently brings me joy.  It seems to make other people happy too, for the number of compliments I get. Someone dressed in plus-fours and a waistcoat is not an ordinary sight.  You’re welcome.

But it’s just my ordinary clothes.  It’s not a costume.  Or if it is, then every single one of us are wearing costumes every day.

typical me, typical me, typical me

This is the larger truth, that we are all doing drag, every single day.  We *choose* how we want to look, even when we’re not aware of it.  Every time we get dressed, we are choosing which part of ourselves to present, depending not just on our moods but on the context, and if you don’t think that’s true, go ahead put on sweats and crocs then try talking to the CEO of your company the way you talk to the people you play sports with on the weekend.  If that’s the same person, congrats, you’ve won capitalism.

Regarding my excellent self in the mirror last Saturday, the serendipitous collection of grey apparel that when put one with the other seemed to have been made for the sole purpose of becoming this suit. I was too happy to want to stain it with the frivolity of pretending I wouldn’t dress exactly like this every day. I mean, the ultimate cop-out Hallowe’en costume is to just put on what you wear to work, right?  Costumes should transport, make fantastic, startle and confound.  This outfit was simply too good.

Bloody shame I’m such a snob, though.  I hear there were prizes.

Balance is bullsh!t

Daily writing prompt
How do you balance work and home life?

It’s funny that this came up as a prompt the other day. I’ve been thinking a lot about how to accomplish my goals both professionally and personally, and as much as we all laud the concept of balance I’m starting to think it’s a joke.

When I think about balancing, I picture someone on a tightrope. Arms extended, eyes locked on the horizon, physically committed to a ludicrous, massively dangerous task for other people’s entertainment.

I did just write a novel about a tightrope walker, so yes it’s a strong echo in my mind but that also means I know what the metaphor means. And I don’t know if it should be a goal.

For one thing, it’s fucking impossible. You can do well, giving yourself more or less equally to all your wants and responsibilities. And maybe that’s a neurotypical thing, to be able to plot your life carefully then follow it through, but that’s not in my wheelhouse, to employ boardroom language. I can’t actualize that paradigm.

I’m losing interest in the idea of balance. It’s really difficult to relax while balancing. Balance is a state of tension, of holding in place. It requires hyperawareness of the body and the ability to ignore everything around you. If you find a place of stillness, you cannot move from it or you will collapse. That sounds–that is–exhausting.

That sounds like capitalism: find one thing and do it till you die, never quitting or questioning, while faithfully replicating your DNA to provide capital with more human resources and supporting the rentier system of the 1% that holds the rest of us hostage by giving them back in the form of household spending and debt all the money they loaned you as wages.

The ideal work/life balance is No Work, All Life. I don’t mean, let’s all be unemployed.* I mean, why is work not life? Why are jobs so shit? Why have we bought into this massive system of pitting our economic needs against our human rights? Who the fuck wants to be an actuary? I would expect a single digit percent of actuaries chose that career because of some deep inner calling. For everyone else it was because they weren’t pretty or clever or rich enough to get to do what they want with their lives, and so they put on a suit and sit in traffic and eat a packed lunch and try not to jump out the office window. If that’s your life why even be alive? So you can give your children the very same future?

TL:DR Modernity is delusional. Baked into the core of our culture is the idea that *this world as it is right now* is the best we can do. That Starbucks and Exxon Mobil are natural and inevitable, that the only improvement possible is making the whole world like America. Delusion, delusion, delusion.

Fuck the work/life balance. It’s a joke, it’s a yoke, it’s a rationalization for letting capital skim the cream of labor’s efforts. For our collective good we need to seek a way of life where our work is worth living for.

An ideal work life balance? The least work possible at a job that won’t cost me my life.


*We can talk about health care and education as necessary jobs as long as you want to discuss why we underpay and understaff both these professions.

And they wondered what the secret was

Gaining traction–getting attention–on the internet is an opaque process for the most part. If, like me, you aren’t doing a frequent deep dive into how your content is getting served to the public then you probably have very little idea why something you post does or does not get clicks. To try and game social media algorithms is to play against masters of obfuscating data trails. Certain enormous retailers are equally secretive about how they intervene in the relationship between buyer and seller. To the liars fall the spoils, we must say in this situation, because the retailers and media corporations both hold the majority of the power and make a substantial amount of the money.

The joke to me is that the harder I try and use the interlaced nature of the internet, the worse my reach is. This blog for example: if I embed a video, if I use the scheduler, if I use the auto-repost function, my content goes unseen. Not just zero likes but zero views. This is, in a word, bullshit. We built the internet to be interconnected. Isn’t that what it’s a short form of, interconnected network? It’s like we built highway interchanges then put brick walls across them. What’s the point of the internet if every node on it savagely protects itself from all other nodes?

I didn’t know what this post was about when I started writing. Only that I wanted to test my theory above. I needed a post, and now I think what it’s about is to say that:

The point of the internet is not to make the shareholders of social media corporations rich. It’s to connect across a network.

Seems obvious, doesn’t it? Much rarer in practice.

A week ago I joined a Discord server hosted by one of my favorite authors (It’s invite only so don’t even ask, IYKYK.) It is one of the finest instances of people being quality on the internet: the encouragement from other members, the positivity everyone exudes, the ethical durability of the group rules, all at a time when I was kind of starved for human interaction. It is however a very select group. Small numbers seem important when maintaining the quality of social groups. I will be curious to see this group evolve, and I’m glad that I joined in the first days.

All relationships begin with unknowing. To get to know a person is to train your brain, to construct a reality within it that contains that other person. I’m maybe not sufficiently afraid of strangers, which is a gift of my race and social class, though statistics leave no one unharmed. But I like strangers, new people, potential. I like reaching out, even if now and then I get my fingers bitten. Haven’t lost one yet.

Victoriana redux

There’s no denying that I am a snob. As such, I like my Historical Romance to be damn well historical. Attempting to live by my own standards, I mostly muddle about in the Victorian Era, despite all the press about its repressive culture. Michel Foucault has said some things on this, but I’ll save that for my dissertation (and this heavy-duty post of mine from last year.)

Intellectual wanking aside, writing fiction in the idiom of the Victorian age is a lot of fun. I like the diction and writing style, the license to be poetic and to drench my dialogue in innuendo and double entendre. I like as well the scenarios the Victorian era offers. Despite its reputation as an era of repression, it was in fact a time of broad social upheaval and technological advancement with many parallels to our time, including the struggle to implement socially beneficial infrastructure as the epidemic and chronic illnesses of increasingly urban lifestyles were battled with public health measures like sewers and indoor plumbing. 

Deep diving into Victoriana feels a little like visiting Japan. It provides a sweet spot of a lifestyle much like mine, yet with an utterly foreign aesthetic and social imaginary. Britain under Queen Victoria and Japan in general are both cultures built on very precisely managed social facades, behind which can rage stunning perversities. We observe the gentility of a tea ceremony, but flip over the painted scroll hanging on the paper wall and you will find a geisha ‘entertaining’ several octopuses. The Marylebone gentleman speaks in Parliament, dines with his wife, kisses his nanny-educated children goodnight, then goes to the bawdy house and gets his arse resoundingly ‘birched’ like the good old days away at school.

While the Regency is a very popular period for Historical Romance (from Austen to Heyer to Quinn to Hall) it was not a very long time period. Many of its charms linger into the Victorian age. Well-spoken politeness still wins the day, and one’s past can define one’s whole future. Yet by the end of the 19th Century, class structures have notably shifted, introducing new types of people to each other. The middle class has begun to emerge, challenging the nobility’s power through sheer force of numbers. And technology had already begun to change the way everyone lived, at a pace unmatched in prior ages.

Not to mention it’s after Britain’s abolition of slavery, which suits me very well. I certainly can’t erase the wealth acquired through the Transatlantic slave trade, but statistically any titled person i.e. English Duke in the Regency was likely benefitting from the Slave Trade. Yes, that wealth carries over even to our times, but let’s say I prefer to play with the fiction-writing kit that doesn’t include that particular component. My titled 19th Century snobs can still be cruel, remorseless, indifferent to oppression. Today we might call them Tories, and there’s a wealth of contemporary fiction about this same kind of ultra-rich white cis-het culture. I don’t need to write about duels at sword-point for my stories to contain entitled men who feel they have the right to be violent, and who need putting in their place, which is really more where my interest lies.

And then there’s the aesthetic. I like dark suits and slim waistcoats and pocket watches and canes that turn out to be shivs. I like tailcoats and tight white shirts and black hansom cabs slipping through the streets to indecent assignations. Cockneys with knives. Can-can and Burlesque. Laudanum and Absinthe, Impressionism, subways, suffrage, Sarah Bernhardt and steam power, Charcot’s gynecological exhibitions and Aubrey Beardsley’s priapic prints, masturbation both as a symptom of insanity and the means by which one prevented it, and all the while corsets get tighter and tighter. The British Experiment reached its giddy apex, and for a few bold years the sun never did set on its Empire, while quietly it was being said that perhaps its former colony across the Atlantic was about to steal its gilded crown.

Change by the bucketful: unavoidable, terrifying, fascinating.

WHAT RUINED ME Ep 10: #historybounding

Chat show interviewer: so what do you sleep in?

Zach Pinsent: a bed.

As an old person (nearly the age of a Golden Girl, for reference) I often miss out on what young people are doing.  Sometimes that’s ok (Tide pods) but sometimes the next generation are doing really interesting things.  Sometimes, I want in.

I stumbled across Zach Pinsent a few years ago after watching a funny video by his friend Karolina.  I watched a few more historical costume videos, mostly slating films and tv for doing a really bad job.  A few weeks later, I wanted to learn about tying a cravat. 

There he was: so spry, so gleeful about the once very ordinary and now vanishingly rare act of starching his collar.   In a matter of seconds he explained a knot that I’d been unable to tie, and completely won my heart.

My aesthetic heart, I mean.  Thirst traps aside (and he shares those with the world so nbd) he just seems like a person that would be delightful to know.  If he came to the party, it would be an endorsement.  I went to England on his advice and was thoroughly delighted with his every recommendation.

Including the unintended endorsement of historical dressing.

Which has ruined me (the clue is in the title) for ordinary clothes. I’ve struggled with modern fashion for years.  Most of it makes very little sense to me, the women’s clothes in particular.  Pants don’t fit, nothing lasts, pockets are fake, and half of it is made by de facto slave labour in Chinese sweatshops one foreman’s cigarette butt away from a Triangle Shirtwaist Factory disaster (if you have safety standards at your job, that’s why.)  And the fucking polyester gauuuuggghhh.  I’m generally compassionate, but whoever said “let’s make 100% polyester bedsheets” a.k.a. microfiber, needs to be taken out behind the woodshed and dealt with.

All of that goes away if you dress differently.  I am a dedicated thrift-shopper and have made some miraculous finds  (from cashmere coats to Gaultier, you name it, my fingers will pluck it from the rack.) Add in my background in sewing and I can safely say I may never need to buy new clothes again (we’re making an exception for underwear, at least for now.)

And I look amazing.  I’ve always been an eccentric dresser, at least compared to my friends, but this has taken it to a whole new level.  My dopamine-starved brain loves the attention.  The better I dress, the more compliments I get, from friends, family, complete strangers.  I like standing out, and the idea that I might be the most interesting thing someone sees that day. I’m not however throwing as hard as Pinsent, who dresses exclusively in historical fashion, mainly from the early 19th century (see above) 

My fits are not nearly so historically accurate, as I approach the game of historybounding with the attitude of a time traveler from the past who finds themselves in our world, granted all our opportunities but still retaining their taste for the aesthetic of earlier times.  This means a lot of waistcoats but no sock suspenders (because socks now stay up on their own.)  Neckties, silk scarves, cravats, yes, but no detachable collars or cuffs (because I’m too lazy to make any and washing machines exist.)

Curiously (or not if you study the pendulum of fashion history) classic style is starting to creep back into the public aesthetic.  Casualness reached a peak in the pandemic, and some people are looking for more than hoodie-sweatpants-crocs.  I mean, you do you, wear what makes you feel most like yourself.  As for me, I would wither and die if that was my only choice of apparel. 

I mean, I call it apparel, for fuck’s sake.

Clever Soup

Alphabet pasta letters in a spoon spell out "SOS"

A holodeck and a human actor: a best-case scenario for AI filmmaking. Human actors reacting in human ways to whatever scenario the filmmaker invents, which is not much different from what goes on now.

The thing is, you can’t fake human, and maybe it’s not worth trying.  Everything else in filmmaking—sets, props, locations, eldritch horrors—can be represented artistically and therefore generated with digital imaging.  It’s the people you can’t fake.

Consider: we pay people to do nothing but be good at emoting.  Certain people emote i.e. act more skillfully than others, and we make them millionaires and give them gold statues and big parties and all our attention.  One individual, idiosyncratic human with their asymmetrical face and personality quirks and gut biome, singular among all other humans currently alive, can win the hearts of millions.  You’re telling me a calculator (which is what a computer is, writ large) is going to be able to fake that any time soon?

AI research has over the years taken up billions of dollars, and we’re still nowhere near faking people.  Maybe it can’t be done.  A computer as intricately modeled as the human brain might need to be either the size of a mountain or be an actual biological brain, grown in situ.

We are clever soup.  But we are like nothing else.  We’re cheap to make, easy to teach, endlessly inventive.  Why bother trying to mechanically replicate what’s already so abundant?

Slay all day? In this economy??

You’re not going to believe this, but I learned a lot about writing from reading this article about, er, recording and mixing pop songs. But what does an interview with one of Beyoncé’s sound engineers have to do with writing a book about kissing?

I write genre fiction, the pop music of the literary world.  And before you sneer at that, consider that romance novels make up 40% of the entire global book market.  Your literary stream of consciousness debut novel is a free-rider on our sales (you’re welcome.)

Pop music has to get its point across in three minutes.  Less, ideally, because if the first fifteen, twenty seconds don’t slap, no one is going to want to hear the rest.  And by slap I don’t mean bombast.  I mean that the opening has to suggest a big payoff is coming.  A fat beat, a mad drop, some crazy vocal run that make your hair raise.  The money shot, if you will.  The Big Fight at the end of the action film or the last kiss at the end of the romance (where we always promise a happy ending.)

But again, what does that have to do with writing books?  It’s all about Stuart White’s commitment to the first take as being the truest. Understand that this first take he’s talking about isn’t a demo.  When Queen Bey walks into that sound booth, it’s already planned what’s going to happen when she starts to sing. Hours of thought and setup, years of training and experience, all come into play in creating a perfect moment, where singer and song unite at an instinctive level, the way they ideally do onstage.  Everything after this first take is fine-tuning.

Similarly, by the time I write my ‘first draft’ of a book, I’m ready to deliver a great performance.  Even though I call it a ‘zero’ draft (gives me permission to let it be bad) I go into writing a book with a full synopsis, and all the scenes I’ve collected since thinking of it all nicely laid out in order. With chapter headings. Ready to write.  What’s missing at that stage is the feelings.  And those can be planned for but not plotted.  That’s what I deliver when writing a chapter from my notes, the emotions of the scene, which register in my body* while I’m writing. I don’t want to stop and figure out which character is sitting on which side of the bed in the middle of getting them into the bed.  If all those bothersome details are plotted, everything else just flows.

Your results may vary, but this is my system and it’s what my high-diffusion scatter ADHD seems to like: wild ideas, usefully structured, with a flowchart of operations and a minimum of attractive nuisances i.e. side-quests my characters don’t need to go on.

What my dang brain hates is editing. The rewrite, the do-over, the second take.  A rerun of the same creative form that strives, and often fails, to improve on the first instinctive attempt. And for my busy little enterprise, a massive time and/or money sinkhole.  

I despise writing words that I’ll have to delete, and that’s what happens when I write without a plan.  Being very (problematically) imaginative, I can take a story in any of a dozen directions if left unsupervised.  My plan is therefore my supervisor, and they’re a hard-nosed bitch who I hate to disappoint. Speaking of, they’re looking meaningfully at me over the imaginary cubicle wall.  Time to clock in.


*This is why I hardly ever watch tv or movies and am very selective in my reading.  By the end of the day I’ve had So Many Feels that I don’t want to have any more, and certainly not most of the feelings that ‘broadcast entertainment’ wants you to feel: jealousy, confusion, revulsion, futile anger at the establishment (I have that to spare, you want some?)  When my day is done, I want real people.  Or sleep.   

the violence

I heard they have a plan in America

to replace all the human beings

with self-driving cars with neflix subscriptions

in a landscape of drive-thrus stretching from

sea to sea

the most efficient system ever

to eat their own people alive

“thank god for the river or those people from down south would overrun us”

she said, watching them pull three point turns

in the parking lot of homeland security

that night after we’d blown the rainbow bridge

cruelty has purpose

the violence just is

a live grenade in a hospital lobby

a ship on fire

all hands on deck

“I don’t understand why you’re so unhappy”

he said when I showed him where the swimming pool tiles had cut my face

like I was meant to thank him

that was the day we lost Bruce

what did you expect

a guy like him

getting lost in his own neighbourhood

though all the houses do kind of look the same

a wall of tanks

shedding sparks on the way to put out a fire that isn’t burning

(2023)