WEBVTT

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This last poem I'll read has--

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I stole something.

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I stole some lyrics from a
boy band, I stole from Keats,

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I stole from the OED, I
stole from a folk song,

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and I used a German
word for death.

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I probably stole
some other stuff.

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I really thank you all.

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I want to thank you
over and over again.

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I thank you and I feel
very lucky to be here.

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"There is no towards.

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No s.

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Dear molecule, my character
inside this screen,

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I might scream, we all
might, I might, inside out,

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swapping with you to live word.

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No stet, no.

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Verge, musty darling, come away.

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Two dead words, they're
towed out of your wake,

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untoward, away from this page.

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Verge well toward, baby.

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Turn around and let me see that
sexy body go bump, bump, bump.

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J Bug, Razz B, Little
Fizz, Omaron, and OED.

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The suffix wards includes
the notion of the manor,

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as well as the direction
of the movement,

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and wards expresses
a definite direction

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and it is in contrast
with all other directions,

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like forwards, like M
words, bump, bump, bump.

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Sending this out to all the sexy
daddies, want to get with you.

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Baby show me, baby
turn around, and let

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me see that sexy body
go bump, bump, bump.

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Casper, crossover, Adam
star, distance apart.

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Be a big vulnerable star.

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So hot to death, da bomb.

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Puff up like a sudden owl.

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Yeah, when the body goes,
I'll spin the decompose.

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Diffuse tight energy,
MC squared, P Diddy,

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oh, croup, croup.

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The molecule is
youngin at age two.

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Does he have the croup?

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The molecule sits
with the child,

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they breathe in the
steam in the shower.

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Check it out, is it the croup?

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Croup, croup,
baby, croup, croup.

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Molecule, a Martian.

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Word, plural toward, to
outer space colonies wards.

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M believed in such.

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The choice between
toward and towards

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is determined by euphony, so
thou be conscience calmed.

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See here it is.

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I hold it towards.

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Turn around toward
me, grapheme willing

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and the creek don't rise.

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Shake it, shake it, all crust
and incarnations, no living

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hand.

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Oh he died on the road.

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Oh he died on the road.

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Never had no money to pay
for sufficient clothes.

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Hello, in the window.

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Are we so apart ghost?

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You know I like it
when your body goes,

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it's a question of time.

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But Depeche Mode isn't
growing on me, dear.

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A, B, see ya, my sunshine.

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Disperse the sunshine.

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Your leather jacket lurks
on my in bed breasts.

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What was with leaving
your jacket on the bed?

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Remember?

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No.

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I miss-- no.

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You goose, give up the ghost.

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Don't hang with other ghosts
at the vectors of change.

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Lose that body.

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Shake it.

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Let me see that sexy body go
bump, bump, bump toward space.

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Oh you were a friend of mine.

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Oh he never done no wrong.

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I stole, I stole.

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I stole, away and cried, and
every time I hear his name.

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He was a friend of mine.

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Dear search committee, since
the death of a beloved,

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my aesthetic has changed.

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My new work is perhaps
traditional or epiphanic

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it its use of a consistent
narrative, the thread

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of my loved ones death.

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Dear S, do your own narration.

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Dear Page, I hate you.

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The intentionality
of this container

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can be moved to strike.

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The artificiality to--

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Oushik says, a ratatata
is an echo in your voice.

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A dingalingaling is a
song for your house.

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This house is a
continuous presence.

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Hello there, molecule
leaning out the window.

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In the context of context,
this page is loud hooey.

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I would like to meet
some sentences more

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honest than these,
someone to phrase

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silence with gentle fray.

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I met someone, molecule,
but the creek rose.

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My shining thwart,
brimming and slaying.

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Jealous, but I see
right through to you.

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Baby, turn around and let me see
that sexy body go bump, bump,

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bump.

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Come on, let's go.

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Come on, let's go.

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It's pandemonium, baby.

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