Let me see.
Yeah, it was great to be there, Michael.
The thing is, wanting fellowship all the time
and also just being inspired by being around writers all
the time.
You got to figure out how to write that down and put
that somewhere because I'm not going to remember it later.
That tension.
So, being in a space like that and truly always wanting
to go back to my room to work.
So, in this instance, I was saying this to the kids today,
I had been asked while I was there about David Lynch
before he passed.
And, I had said-- and I think I'm talking to you about poetry
here.
I didn't start my clock yet.
It's going to be 30 minutes.
I said, I think I like David Lynch the way
I like poetry, which is I'm engaging it.
It's too simple to say, I like David Lynch.
So, I was working on a poem about the Elephant Man,
which I'd seen like at 7:00 by myself and totally did something
to me.
But, again, engagement.
Whatever that was, all of my engagements with David
Lynch from then on were never about, I get it, I like it,
it's good, it's bad.
It was just interacting with it.
So, I was working that out, and then I took my break.
I woke up maybe 6:00 AM, and I watched Lynch / Oz.
I'd never seen it before, and I worked from 7:00 to 12:00,
7:00 to 1:00 in Oaxaca on this poem.
And, then, I guess I got online, and I saw that he died.
So, then, I had to scrap that entire poem,
but that's what I had been working on.
I was trying to figure out this thing about the Elephant Man.
I don't know what it was about the immigration stuff that
was being said, but, no, I was not texting.