WEBVTT 00:00:00.000 --> 00:00:00.540 align:middle line:90% 00:00:00.540 --> 00:00:01.340 align:middle line:90% Yeah, I apologize. 00:00:01.340 --> 00:00:02.965 align:middle line:84% I forgot the specific name of the poem. 00:00:02.965 --> 00:00:05.273 align:middle line:90% I think it's called "Carp Poem." 00:00:05.273 --> 00:00:06.690 align:middle line:84% I was wondering if you could speak 00:00:06.690 --> 00:00:08.760 align:middle line:84% to your use of religious imagery? 00:00:08.760 --> 00:00:13.130 align:middle line:90% 00:00:13.130 --> 00:00:15.860 align:middle line:84% I mean, it's not that far from saying American imagery. 00:00:15.860 --> 00:00:19.550 align:middle line:84% There are certain themes, it's like our mythology, I guess, 00:00:19.550 --> 00:00:21.920 align:middle line:84% which is not to say it's not a question of faith 00:00:21.920 --> 00:00:27.950 align:middle line:84% so much as a question of subject, history, material. 00:00:27.950 --> 00:00:31.130 align:middle line:84% So I find the Bible to be a really interesting book 00:00:31.130 --> 00:00:33.360 align:middle line:84% about all kinds of great stories in it. 00:00:33.360 --> 00:00:34.790 align:middle line:84% And I find the questions of faith 00:00:34.790 --> 00:00:36.983 align:middle line:90% to be endlessly interesting. 00:00:36.983 --> 00:00:38.900 align:middle line:84% And again, we can think about it and then even 00:00:38.900 --> 00:00:40.940 align:middle line:84% connect it to spectacle-- inside faith, 00:00:40.940 --> 00:00:46.340 align:middle line:84% or maintaining one's faith, victim of faith, weak faith. 00:00:46.340 --> 00:00:49.090 align:middle line:90% So those are really-- 00:00:49.090 --> 00:00:50.840 align:middle line:84% I mean, I like tensions, what I would say. 00:00:50.840 --> 00:00:54.300 align:middle line:84% As a writer, I like texture, I like struggle. 00:00:54.300 --> 00:00:56.270 align:middle line:84% So if it's a kind of easy thing, or if it's 00:00:56.270 --> 00:00:58.460 align:middle line:84% a thing that I feel like I have figured out, 00:00:58.460 --> 00:00:59.880 align:middle line:90% it won't show up in the poems. 00:00:59.880 --> 00:01:03.470 align:middle line:84% About religion, spirituality, all those things 00:01:03.470 --> 00:01:07.050 align:middle line:84% are constantly-- morality, good versus bad, 00:01:07.050 --> 00:01:09.470 align:middle line:84% those things are always interesting to me. 00:01:09.470 --> 00:01:11.510 align:middle line:84% And as I said, I mean, I've always 00:01:11.510 --> 00:01:14.660 align:middle line:84% tricking my way into writing them in full ways. 00:01:14.660 --> 00:01:19.562 align:middle line:84% And I think that's what that last poem is doing, too. 00:01:19.562 --> 00:01:21.770 align:middle line:84% Yeah, I mean, I think the "Carp Poem," a lot of stuff 00:01:21.770 --> 00:01:22.790 align:middle line:90% is going on in that one. 00:01:22.790 --> 00:01:24.740 align:middle line:84% But certainly, that question of what 00:01:24.740 --> 00:01:27.800 align:middle line:84% is that, what is [INAUDIBLE],, what is faith, 00:01:27.800 --> 00:01:30.010 align:middle line:90% is part of that poem, too. 00:01:30.010 --> 00:01:31.490 align:middle line:90% So, thanks, yeah. 00:01:31.490 --> 00:01:36.323 align:middle line:90% 00:01:36.323 --> 00:01:37.740 align:middle line:84% I can hear you if you're shouting. 00:01:37.740 --> 00:01:38.800 align:middle line:90% Oh, yeah. 00:01:38.800 --> 00:01:39.370 align:middle line:90% Come up here. 00:01:39.370 --> 00:01:46.280 align:middle line:90% 00:01:46.280 --> 00:01:49.400 align:middle line:84% I'm always really struck by your attention 00:01:49.400 --> 00:01:52.710 align:middle line:90% to form in all of your work. 00:01:52.710 --> 00:01:55.130 align:middle line:84% And I'm wondering about the relationship 00:01:55.130 --> 00:01:58.820 align:middle line:84% in your opinion about spectacle and form, 00:01:58.820 --> 00:02:02.450 align:middle line:84% and how they get to form each other, and also, the amount 00:02:02.450 --> 00:02:05.900 align:middle line:84% in terms of your saying, like, feeling the need 00:02:05.900 --> 00:02:09.690 align:middle line:84% to trick yourself into feeling empathy or spectacle, 00:02:09.690 --> 00:02:12.350 align:middle line:84% like, using metaphor and using language. 00:02:12.350 --> 00:02:16.967 align:middle line:84% And if form plays into that, then how? 00:02:16.967 --> 00:02:18.800 align:middle line:84% Yeah, but the first thing that comes to mind 00:02:18.800 --> 00:02:20.120 align:middle line:90% is just television. 00:02:20.120 --> 00:02:25.640 align:middle line:84% Like, why our sort of relationship to the spectacular 00:02:25.640 --> 00:02:28.040 align:middle line:84% is more intense than it's ever been before? 00:02:28.040 --> 00:02:29.690 align:middle line:84% Because I do think that the television 00:02:29.690 --> 00:02:31.850 align:middle line:90% is a great form for detachment. 00:02:31.850 --> 00:02:37.430 align:middle line:84% So we get to see September 11, or pornography, 00:02:37.430 --> 00:02:39.560 align:middle line:84% or sporting events, but we always 00:02:39.560 --> 00:02:41.143 align:middle line:90% have a kind of removed from it. 00:02:41.143 --> 00:02:42.560 align:middle line:84% Because I find it, like, when I go 00:02:42.560 --> 00:02:44.938 align:middle line:84% to basketball games or football games, 00:02:44.938 --> 00:02:45.980 align:middle line:90% it's never quite as good. 00:02:45.980 --> 00:02:50.635 align:middle line:84% Because I've gotten so used to having the spectacle contained. 00:02:50.635 --> 00:02:52.010 align:middle line:84% And it's not even a commercial so 00:02:52.010 --> 00:02:54.760 align:middle line:84% much as just being able to have it in a box where everything, I 00:02:54.760 --> 00:02:56.510 align:middle line:84% mean, even if someone is showing it to me, 00:02:56.510 --> 00:03:00.683 align:middle line:84% it's all there framed in a really great little context. 00:03:00.683 --> 00:03:02.850 align:middle line:84% Versus to being in the midst of any of those things. 00:03:02.850 --> 00:03:05.867 align:middle line:84% And again, the easiest example would be a sporting event. 00:03:05.867 --> 00:03:07.200 align:middle line:90% Like, there's too much going on. 00:03:07.200 --> 00:03:10.500 align:middle line:84% There's too many places to look, to really have it focused. 00:03:10.500 --> 00:03:12.710 align:middle line:84% So I think maybe four minutes is just me making it up 00:03:12.710 --> 00:03:14.660 align:middle line:84% in response to your question, but I think, 00:03:14.660 --> 00:03:16.220 align:middle line:90% maybe form works that way. 00:03:16.220 --> 00:03:20.060 align:middle line:84% Like, you just want some way to hold it, the intensity, 00:03:20.060 --> 00:03:22.400 align:middle line:90% the energies, the feelings. 00:03:22.400 --> 00:03:24.830 align:middle line:84% So I don't know if that becomes a vote for television. 00:03:24.830 --> 00:03:27.740 align:middle line:84% But certainly, television makes it neat enough 00:03:27.740 --> 00:03:29.360 align:middle line:84% that we almost become a little bit 00:03:29.360 --> 00:03:32.060 align:middle line:84% immune to it, versus to what it really means 00:03:32.060 --> 00:03:35.060 align:middle line:90% to be in the midst of a crisis. 00:03:35.060 --> 00:03:39.500 align:middle line:84% And that's not-- as one of the poems, in the last poem, 00:03:39.500 --> 00:03:41.958 align:middle line:84% and it was really, I was saying this to the students early. 00:03:41.958 --> 00:03:43.792 align:middle line:84% And usually, that's like a line in the poem, 00:03:43.792 --> 00:03:44.965 align:middle line:90% everything will be going on. 00:03:44.965 --> 00:03:46.340 align:middle line:84% But they'll just be like one line 00:03:46.340 --> 00:03:48.230 align:middle line:90% that I'm really committed to. 00:03:48.230 --> 00:03:50.810 align:middle line:84% And this one is like crisis is initiated 00:03:50.810 --> 00:03:52.400 align:middle line:90% by the absence of witness. 00:03:52.400 --> 00:03:54.170 align:middle line:84% So I just kept thinking about that idea, 00:03:54.170 --> 00:03:56.780 align:middle line:84% even though it's not a narrative subject. 00:03:56.780 --> 00:04:00.080 align:middle line:84% But it seems to me when we get to see the crisis, 00:04:00.080 --> 00:04:01.940 align:middle line:84% we feel like, OK, it's not so bad. 00:04:01.940 --> 00:04:03.840 align:middle line:90% We actually have a record of it. 00:04:03.840 --> 00:04:06.752 align:middle line:84% But then, being in the midst of our own crisis, or any kind 00:04:06.752 --> 00:04:08.210 align:middle line:84% of story, and have no record of it, 00:04:08.210 --> 00:04:11.050 align:middle line:84% seems like that's the real crisis. 00:04:11.050 --> 00:04:14.090 align:middle line:84% So I think that's in spectacle, that's in the spectacular. 00:04:14.090 --> 00:04:16.070 align:middle line:90% It assumes a witness to it. 00:04:16.070 --> 00:04:17.930 align:middle line:84% So anyway, so to parallel that to my work, 00:04:17.930 --> 00:04:19.027 align:middle line:90% I think that about form. 00:04:19.027 --> 00:04:21.110 align:middle line:84% I think part of what you're trying to do with form 00:04:21.110 --> 00:04:23.870 align:middle line:84% is figure out some way to hold the crisis, 00:04:23.870 --> 00:04:27.260 align:middle line:84% or the feeling that would be too large otherwise. 00:04:27.260 --> 00:04:30.180 align:middle line:84% And maybe, that's how television works, too. 00:04:30.180 --> 00:04:30.680 align:middle line:90% Yeah. 00:04:30.680 --> 00:04:37.850 align:middle line:90% 00:04:37.850 --> 00:04:40.430 align:middle line:84% So I'm really fascinated by the intersection 00:04:40.430 --> 00:04:41.920 align:middle line:90% of poetry and visual art. 00:04:41.920 --> 00:04:44.630 align:middle line:84% So I was wondering if you could speak to how visual 00:04:44.630 --> 00:04:47.810 align:middle line:84% art and poetry intersect, how they can intersect, 00:04:47.810 --> 00:04:51.570 align:middle line:84% and how that potentially connects to the spectacle? 00:04:51.570 --> 00:04:52.070 align:middle line:90% Sure. 00:04:52.070 --> 00:04:56.210 align:middle line:84% Well, that's why I picked the historical poem in particular, 00:04:56.210 --> 00:04:59.930 align:middle line:84% because what I was doing just as the writer was asking myself. 00:04:59.930 --> 00:05:02.090 align:middle line:84% If you guys know the blind and contour drawing, 00:05:02.090 --> 00:05:05.400 align:middle line:84% I mean, the principle is just you put the pen or the chalk 00:05:05.400 --> 00:05:08.070 align:middle line:84% or whatever down, and you just look at your subject. 00:05:08.070 --> 00:05:10.370 align:middle line:84% So it's trying to keep you from looking down 00:05:10.370 --> 00:05:11.930 align:middle line:84% at the paper, which everybody thinks that's what you're 00:05:11.930 --> 00:05:12.560 align:middle line:90% supposed to do, right? 00:05:12.560 --> 00:05:13.370 align:middle line:84% Like, when you're drawing, you're 00:05:13.370 --> 00:05:15.090 align:middle line:90% looking at yourself drawing it. 00:05:15.090 --> 00:05:16.590 align:middle line:84% But of course, if you're doing that, 00:05:16.590 --> 00:05:18.560 align:middle line:84% you're not actually looking, which 00:05:18.560 --> 00:05:20.160 align:middle line:84% is the kind of interesting dynamic. 00:05:20.160 --> 00:05:23.330 align:middle line:84% So for me, that was a huge lesson in the ninth grade. 00:05:23.330 --> 00:05:25.520 align:middle line:84% Like, oh, I can only draw it if I 00:05:25.520 --> 00:05:27.045 align:middle line:90% don't look at what I'm drawing. 00:05:27.045 --> 00:05:29.420 align:middle line:84% So I was trying to think about that parallel verse, first 00:05:29.420 --> 00:05:31.850 align:middle line:84% just to poetry, like, is that what a lyric is? 00:05:31.850 --> 00:05:33.985 align:middle line:84% Where, if you sing it, but don't think too much 00:05:33.985 --> 00:05:35.360 align:middle line:84% about what you're singing, that's 00:05:35.360 --> 00:05:37.777 align:middle line:84% the only way to really sing it, to really let yourself go? 00:05:37.777 --> 00:05:41.550 align:middle line:84% Because otherwise, you can be swept away by it. 00:05:41.550 --> 00:05:43.430 align:middle line:84% So that analogy just gets to be-- 00:05:43.430 --> 00:05:45.980 align:middle line:84% it's a series of questions or curiosities 00:05:45.980 --> 00:05:48.010 align:middle line:90% around how they go together. 00:05:48.010 --> 00:05:49.760 align:middle line:84% Because I usually just keep them separate. 00:05:49.760 --> 00:05:51.093 align:middle line:90% I mean, they are different acts. 00:05:51.093 --> 00:05:54.020 align:middle line:84% It's like driving and flying a plane, 00:05:54.020 --> 00:05:57.050 align:middle line:84% they don't necessarily have to be connected. 00:05:57.050 --> 00:05:58.700 align:middle line:84% Even if they're about like movement. 00:05:58.700 --> 00:06:00.920 align:middle line:84% So I don't generally worry too much 00:06:00.920 --> 00:06:02.840 align:middle line:84% about how they're in conversation. 00:06:02.840 --> 00:06:05.570 align:middle line:84% But certainly, one of the driving projects to that book 00:06:05.570 --> 00:06:08.630 align:middle line:84% was to see what does one say to the other? 00:06:08.630 --> 00:06:12.260 align:middle line:84% So hence, like what is black contour drawing? 00:06:12.260 --> 00:06:19.670 align:middle line:84% Like, I don't remember how I get to the story of the knife 00:06:19.670 --> 00:06:22.410 align:middle line:84% stabbing, or even the awe, it was like-- that just comes out 00:06:22.410 --> 00:06:25.070 align:middle line:90% of dozens and dozens of drafts. 00:06:25.070 --> 00:06:27.530 align:middle line:84% At one point, the whole poem was about Cyclops, 00:06:27.530 --> 00:06:31.490 align:middle line:84% and Cyclops in The Odyssey, and how big would his eyeball 00:06:31.490 --> 00:06:33.225 align:middle line:90% be if he was a giant. 00:06:33.225 --> 00:06:34.100 align:middle line:90% What would fit in it? 00:06:34.100 --> 00:06:35.600 align:middle line:84% I was like, oh, if you're big enough 00:06:35.600 --> 00:06:38.390 align:middle line:84% to have an onion fit inside your eye, that's pretty big. 00:06:38.390 --> 00:06:39.330 align:middle line:90% [LAUGHTER] 00:06:39.330 --> 00:06:40.070 align:middle line:90% That was enough. 00:06:40.070 --> 00:06:43.120 align:middle line:84% So I had a whole point about that, whatever his name is, 00:06:43.120 --> 00:06:44.570 align:middle line:90% Polyphemus or something. 00:06:44.570 --> 00:06:46.460 align:middle line:84% And but that just fell to the side. 00:06:46.460 --> 00:06:49.550 align:middle line:84% So that process of surprise, I am often 00:06:49.550 --> 00:06:51.183 align:middle line:90% working out abstractions. 00:06:51.183 --> 00:06:52.850 align:middle line:84% But I'm always trying to route them down 00:06:52.850 --> 00:06:56.670 align:middle line:84% into something like song or story. 00:06:56.670 --> 00:06:59.620 align:middle line:84% So you've got forget, like it's like erasing your tracks as you 00:06:59.620 --> 00:07:00.120 align:middle line:90% move. 00:07:00.120 --> 00:07:02.810 align:middle line:84% Which is why it's always harder the next time you start out. 00:07:02.810 --> 00:07:06.200 align:middle line:84% Because it's evidence of how you got to a poem. 00:07:06.200 --> 00:07:10.250 align:middle line:84% It's usually gone by the time I get the poem right, or almost 00:07:10.250 --> 00:07:11.680 align:middle line:90% right, right enough. 00:07:11.680 --> 00:07:12.180 align:middle line:90% Yeah. 00:07:12.180 --> 00:07:15.117 align:middle line:90% 00:07:15.117 --> 00:07:15.617 align:middle line:90% Yeah? 00:07:15.617 --> 00:07:20.470 align:middle line:90% 00:07:20.470 --> 00:07:22.220 align:middle line:84% So first of all, thank you for being here. 00:07:22.220 --> 00:07:23.180 align:middle line:90% You're wonderful. 00:07:23.180 --> 00:07:25.670 align:middle line:84% And I really enjoyed the reading. 00:07:25.670 --> 00:07:29.540 align:middle line:84% On this idea of form, I really love just the broad range 00:07:29.540 --> 00:07:32.635 align:middle line:84% of forms that your poems take in your books. 00:07:32.635 --> 00:07:34.010 align:middle line:84% I was wondering if you could talk 00:07:34.010 --> 00:07:37.550 align:middle line:84% when in your writing process the form for the poem 00:07:37.550 --> 00:07:38.600 align:middle line:90% usually appears? 00:07:38.600 --> 00:07:40.280 align:middle line:84% Like is it in multiple drafts, is 00:07:40.280 --> 00:07:42.410 align:middle line:90% the form first for some poems? 00:07:42.410 --> 00:07:45.780 align:middle line:84% I was thinking about where in the drafting process 00:07:45.780 --> 00:07:50.090 align:middle line:84% the form decisions usually manifest for you? 00:07:50.090 --> 00:07:53.807 align:middle line:84% They usually are initially the result of a problem, 00:07:53.807 --> 00:07:55.640 align:middle line:84% like not being able to get out of something. 00:07:55.640 --> 00:07:58.730 align:middle line:84% And say, I don't know if I made these kinds of parameters, 00:07:58.730 --> 00:07:59.400 align:middle line:90% I could do it. 00:07:59.400 --> 00:08:02.930 align:middle line:84% So again, if I think about like "The Poet Ai as Dylann Roof," 00:08:02.930 --> 00:08:04.010 align:middle line:90% it's a persona poem. 00:08:04.010 --> 00:08:05.360 align:middle line:90% But that's a form. 00:08:05.360 --> 00:08:07.280 align:middle line:84% But it comes from me trying to figure out 00:08:07.280 --> 00:08:10.568 align:middle line:84% how could I write a poem in the voice of Dylann Roof? 00:08:10.568 --> 00:08:12.110 align:middle line:84% And I thought, oh, I could do it if I 00:08:12.110 --> 00:08:13.350 align:middle line:90% pretended to be someone else. 00:08:13.350 --> 00:08:15.050 align:middle line:84% So at that moment, that's a solution 00:08:15.050 --> 00:08:17.430 align:middle line:90% to a very particular problem. 00:08:17.430 --> 00:08:19.940 align:middle line:84% But on the other side, like what I'm working on now, 00:08:19.940 --> 00:08:21.980 align:middle line:90% is still thinking, well what-- 00:08:21.980 --> 00:08:24.680 align:middle line:84% I like the idea of a white man with a Black woman 00:08:24.680 --> 00:08:26.210 align:middle line:90% hidden inside of it. 00:08:26.210 --> 00:08:29.850 align:middle line:84% So suddenly, the form becomes usable. 00:08:29.850 --> 00:08:32.210 align:middle line:84% So the thing I'm working on now is Lucian Freud. 00:08:32.210 --> 00:08:34.159 align:middle line:84% So the poem-- and it may not work, 00:08:34.159 --> 00:08:36.020 align:middle line:84% I've been working on it for two months. 00:08:36.020 --> 00:08:39.321 align:middle line:84% But it's like The Poet Ai as Lucian Freud. 00:08:39.321 --> 00:08:40.279 align:middle line:90% So I don't know, y'all. 00:08:40.279 --> 00:08:41.112 align:middle line:90% I know Lucian Freud. 00:08:41.112 --> 00:08:44.179 align:middle line:84% He's the grandson of Sigmund Freud, amazing painter. 00:08:44.179 --> 00:08:46.940 align:middle line:90% He's like somewhere between-- 00:08:46.940 --> 00:08:48.530 align:middle line:90% he likes Van Gogh with texture. 00:08:48.530 --> 00:08:50.960 align:middle line:84% He's trying to make the paint like flesh. 00:08:50.960 --> 00:08:52.370 align:middle line:84% And then, like Philip Pearlstein, 00:08:52.370 --> 00:08:54.530 align:middle line:84% which is also somebody that people don't know, but figure 00:08:54.530 --> 00:08:55.697 align:middle line:90% drawing, likes naked people. 00:08:55.697 --> 00:08:58.190 align:middle line:90% He also has a record of 14 kids. 00:08:58.190 --> 00:08:59.540 align:middle line:90% But he probably has more. 00:08:59.540 --> 00:09:01.100 align:middle line:90% [LAUGHTER] 00:09:01.100 --> 00:09:04.220 align:middle line:84% So anyway, and an interesting dude, 00:09:04.220 --> 00:09:05.930 align:middle line:84% I read all these biographies about him. 00:09:05.930 --> 00:09:08.090 align:middle line:84% So what's interesting to me is he 00:09:08.090 --> 00:09:14.000 align:middle line:84% is a complicated not likeable guy, Lucian Freud, 00:09:14.000 --> 00:09:16.190 align:middle line:90% but just a monstrous talent. 00:09:16.190 --> 00:09:18.590 align:middle line:84% So again, I thought, well, what if Lucian Freud had 00:09:18.590 --> 00:09:22.190 align:middle line:84% inside of him, Ai, like, inside of him? 00:09:22.190 --> 00:09:25.580 align:middle line:84% What could I get at if it's Ai pretending to be Lucian Freud? 00:09:25.580 --> 00:09:28.130 align:middle line:84% I can get at it like a crazy stuff about him, 00:09:28.130 --> 00:09:30.140 align:middle line:84% the crazy sex stuff, the crazy violent stuff. 00:09:30.140 --> 00:09:32.390 align:middle line:84% He'd like people to beat him up, people go out of pubs 00:09:32.390 --> 00:09:36.893 align:middle line:84% and pick fights, and then, lay out, you know, crazy stuff. 00:09:36.893 --> 00:09:38.810 align:middle line:84% Some people say he might had Asperger's, which 00:09:38.810 --> 00:09:41.360 align:middle line:84% is interesting, because he's such a phenomenal painter. 00:09:41.360 --> 00:09:43.340 align:middle line:84% And that's where all of his obsession-- anyway, 00:09:43.340 --> 00:09:44.360 align:middle line:90% so I've been taking too much. 00:09:44.360 --> 00:09:45.530 align:middle line:84% So that's what I'm doing now, that's 00:09:45.530 --> 00:09:46.670 align:middle line:84% what I mean, like, I don't actually 00:09:46.670 --> 00:09:48.110 align:middle line:90% care about any of the books. 00:09:48.110 --> 00:09:51.690 align:middle line:84% I only care about that thing that I've been working on. 00:09:51.690 --> 00:09:54.830 align:middle line:84% So to go to your point, though, I only 00:09:54.830 --> 00:09:58.250 align:middle line:84% get to it because I created a device for figuring out 00:09:58.250 --> 00:09:59.340 align:middle line:90% another problem. 00:09:59.340 --> 00:10:00.980 align:middle line:84% And then, I'm saying, oh, can I use 00:10:00.980 --> 00:10:03.620 align:middle line:84% that to get to other kinds of poem? 00:10:03.620 --> 00:10:06.800 align:middle line:84% So what is it like if she's inside of him? 00:10:06.800 --> 00:10:09.050 align:middle line:84% But it can't just be two, because it can't be like, 00:10:09.050 --> 00:10:11.300 align:middle line:84% because I'm saying terrible things about Lucian Freud. 00:10:11.300 --> 00:10:15.352 align:middle line:84% The only two poems are Dylann Roof and Lucian Freud. 00:10:15.352 --> 00:10:17.810 align:middle line:84% So then, I was thinking what other white dudes need to have 00:10:17.810 --> 00:10:20.048 align:middle line:90% Black women inside of them? 00:10:20.048 --> 00:10:22.430 align:middle line:90% I haven't answered that yet. 00:10:22.430 --> 00:10:23.380 align:middle line:90% But I'm working on it. 00:10:23.380 --> 00:10:26.720 align:middle line:84% So I've got three out of her, dude, I'm still serious. 00:10:26.720 --> 00:10:28.340 align:middle line:84% But if I got the three hours, say, you 00:10:28.340 --> 00:10:31.550 align:middle line:84% would see the uses of the form, like why 00:10:31.550 --> 00:10:33.120 align:middle line:90% I've decided to try it. 00:10:33.120 --> 00:10:37.550 align:middle line:84% Two is sort of random, one is like very particular. 00:10:37.550 --> 00:10:39.312 align:middle line:90% So I'm thinking at least three. 00:10:39.312 --> 00:10:40.520 align:middle line:90% But first I got to finish it. 00:10:40.520 --> 00:10:42.062 align:middle line:84% If I don't finish this one, I'll just 00:10:42.062 --> 00:10:45.010 align:middle line:84% stop with the Dylann Roof, which may or may not be done. 00:10:45.010 --> 00:10:46.220 align:middle line:90% But does that answer it? 00:10:46.220 --> 00:10:49.070 align:middle line:84% They start out of, they began with real problems for me, 00:10:49.070 --> 00:10:52.340 align:middle line:84% with real questions, in terms of producing a poem. 00:10:52.340 --> 00:10:54.195 align:middle line:90% I never go in. 00:10:54.195 --> 00:10:55.820 align:middle line:84% Even with sonnets, I never say, oh, I'm 00:10:55.820 --> 00:10:56.660 align:middle line:90% going to write a sonnet. 00:10:56.660 --> 00:10:58.118 align:middle line:84% Usually, I'm working something out. 00:10:58.118 --> 00:11:00.350 align:middle line:84% And I can see the edges of a sonnet. 00:11:00.350 --> 00:11:02.780 align:middle line:84% And then, I'll use that as a solution. 00:11:02.780 --> 00:11:04.910 align:middle line:90% Yeah. 00:11:04.910 --> 00:11:06.980 align:middle line:84% This may be the right place to stop. 00:11:06.980 --> 00:11:10.010 align:middle line:84% And the way to keep going is to come up here and buy a book 00:11:10.010 --> 00:11:10.928 align:middle line:90% from Marc or Kurt. 00:11:10.928 --> 00:11:11.720 align:middle line:90% Books are for sale. 00:11:11.720 --> 00:11:12.920 align:middle line:90% They are 20% off. 00:11:12.920 --> 00:11:15.070 align:middle line:90% Thanks for choosing--