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Let me see.

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Let me see.

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Yeah, it was great
to be there, Michael.

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The thing is, wanting
fellowship all the time

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and also just being inspired
by being around writers all

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the time.

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You got to figure out how
to write that down and put

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that somewhere because I'm not
going to remember it later.

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That tension.

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So, being in a space like
that and truly always wanting

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to go back to my room to work.

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So, in this instance, I was
saying this to the kids today,

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I had been asked while I
was there about David Lynch

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before he passed.

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And, I had said-- and I think
I'm talking to you about poetry

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here.

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I didn't start my clock yet.

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It's going to be 30 minutes.

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I said, I think I like
David Lynch the way

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I like poetry, which
is I'm engaging it.

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It's too simple to say,
I like David Lynch.

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So, I was working on a poem
about the Elephant Man,

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which I'd seen like at 7:00 by
myself and totally did something

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to me.

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But, again, engagement.

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Whatever that was, all of
my engagements with David

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Lynch from then on were never
about, I get it, I like it,

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it's good, it's bad.

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It was just interacting with it.

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So, I was working that out,
and then I took my break.

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I woke up maybe 6:00 AM,
and I watched Lynch / Oz.

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I'd never seen it before, and
I worked from 7:00 to 12:00,

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7:00 to 1:00 in
Oaxaca on this poem.

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And, then, I guess I got
online, and I saw that he died.

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So, then, I had to
scrap that entire poem,

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but that's what I
had been working on.

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I was trying to figure out this
thing about the Elephant Man.

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I don't know what it was about
the immigration stuff that

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was being said, but,
no, I was not texting.

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