I'M BEGINNING TO THINK PERHAPS THE GOAL OF THIRTY HAIKU WAS A TAD AMBITIOUS. AND WHEN (IF) IT'S ALL DONE THEY WILL DEFINITELY NEED TO BE REORDERED. IN ADDITION, RE: THE PREVIOUS POEM, BOOTS, IT SEEMS TO ME THAT RATHER THAN MY PUTTING ON A FAKE SOUTHERN ACCENT (THE BEST THAT TEN YEARS OF VOCAL TRAINING AND DICTION COULD GET ME), I'D MUCH RATHER HEAR IT READ BY, SAY, ANNA PAQUIN, WHO HAS A FAR SUPERIOR FAKE SOUTHERN ACCENT, AND ALSO A MUCH GAPPIER GAP TOOTH. IN FACT, THE GAP BETWEEN MY OWN FRONT TEETH HAS ALL BUT CLOSED UP SINCE CHILDHOOD. AND NOW, SADLY, I HAVE BECOME LIKE EVERYONE ELSE. BUT I DIGRESS...
IX. HUMAN NATURE
FLEETING LIGHT STRIKES THEM,
ROOTING IN THE GROUND AGAIN--
SUBJECT AND OBJECT.
X. PERFUMERY
BLOOD RED HEARTS THAT BREAK
SPILL THEIR SCENT UNEVENLY,
SLIGHTING PATIENT HANDS.
XI. SKETCHING
PROUDLY DRAWN PETALS--
IS THAT THE WAY YOU WANT HER,
CAPTURED IN SATIN?
XII. DOMESTICATED
SLOW MELT... SIMMERING--
HOT HOUSE ORCHIDS TAKE THE HEAT,
SCENT THEIR SACRIFICE.
THIS WAS, ACTUALLY, HALF INSPIRED BY A PHOTO IN A BOOK MY SISTER LENT ME CALLED "MID CENTURY MODERN DESIGN"...ANYWAY THE PHOTO WAS OF A LOVELY SMILING LADY IN AN APRON SURROUNDED BY AN ARCHITECTURALLY SWEDISH KITCHEN FILLED WITH PUMPKIN-ORANGE "CUTTING EDGE" 1950'S APPLIANCES. AND SHE WAS HOISTING A GARGANTUAN BLACK TEA KETTLE.
OH, AND THE OTHER HALF OF THE INSPIRATION CAME FROM MY NIECE'S "ROSE PETAL COTTAGE" WHICH, IF YOU'VE NEVER SEEN IT, IS A PLAY HOUSE WITH JUST ENOUGH ROOM FOR AN OVEN, WASHING MACHINE, IRONING BOARD, AND BABY CHANGING TABLE. NO RECLINER. GEESH, IT MUST GET HOT IN THERE!
XIII. PARK AND RIDE
TRICKLE DOWN LILY
FACE THE ASPHALT, STEMS TIED DOWN
BURN WITH YOUR BREATHING.
XIV. ESCAPE ARTIST
DELIBERATE MUSE,
REVEAL YOUR COMPLEXITY
CLIMBING GARDEN WALLS
XV. MORNING AFTER
DAWN AWAKENS DROUGHT.
NAIVE STRANGERS, STRUGGLING,
TILL THE TIRED PLOT.
SOMETHING OCCURS TO ME AS I CONTINUE THIS, OF WHAT I WANT THE THEME OF THE WHOLE PROJECT TO BE ABOUT. I FEEL IT'S CHANGING FROM WHAT IT WAS WHEN I STARTED OUT. ORIGINALLY, THE CONCEPT OF "GUERRILLA GARDENING" AS I UNDERSTOOD IT IS MAN'S STRUGGLE TO KIND OF HARNESS NATURE'S BOUNTY--SOIL, PLANTS, FLOWERS, FRUITS AND VEGETABLES--AND SQUEEZE IT INTO THESE LITTLE URBAN POCKETS WHEREVER WE CAN FIND THEM. SO THE POETRY WAS GOING TO BE FROM THE POINT OF VIEW OF NATURE--ITS STRUGGLE TO CO-EXIST WITH US IN A WORLD WHERE WE'RE CONSTANTLY TEMPERING AND ORDERING THE WILDERNESS. BUT THEN AS I'M WRITING I'M REALIZING THAT WHAT THIS WHOLE SERIES IS REALLY ENDING UP TO BE IS A RECOGNITION OF...I DON'T KNOW, HUMANITY'S OWN WILDERNESS SO TO SPEAK. OUR STRUGGLE FOR CIVILITY IN THE MIDST OF THE WILDNESS OF OUR RELATIONSHIPS TO ONE ANOTHER AND OURSELVES.
THUS OUR INFATUATION WITH THE NATURAL WORLD THAT DOESN'T LET US FORGET WHERE WE COME FROM. LIKE IN POLLAN'S BOOK WHERE HE SAYS SOMETHING TO EFFECT OF "IT IS NOT WE WHO HAVE CONQUERED THE GARDEN, BUT RATHER THE GARDEN THAT HAS CONQUERED US." I'M NOTICING THAT'S WHAT'S HAPPENING HERE, AS I SEE THE EVIDENCE IN THE VERBIAGE... "STRIKE, ROOT, BREAK, SPILL, SLIGHT, CAPTURE, TIE, BURN, STRUGGLE, CLIMB..." THE LIST GOES ON. NOT EXACTLY FLOWER SHOW MATERIAL.
8.19.2010
8.10.2010
These Boots
THESE BOOTS
SOON YOU'LL REMIND ME
TO PAY MY RESPECTS
TO THE GHOSTS OF ROADS,
WHO WALKED THIS PATH BEFORE ME...
SKIN OF THE SOUL
IN THE BEAST OF THE MAN WHO LOVED ME.
HOW I MISS HIS DIRT
AND KEROSENE SOAKED FACE--
HOW WHATEVER TOUCHED HIM
WAS PART OF HIM
LIKE VICES HE WAS BORN WITH,
NOT SOME BAD LUCK PICKED UP ALONG THE WAY.
EVEN WHEN WE FUCKED
YOU LIKED TO WATCH,
YOU LAID IT DOWN.
NOW QUICK AS I LIT IT
(HIS LAST CIGARETTE)
WATCH ME STOMP IT
GRIND IT TO THE GROUND.
SOMEWHAT-THOUGH VERY LOOSELY-INSPIRED BY THE KILLER INSIDE ME, WHICH ALTHOUGH NOT EVERYONE'S CUP OF TEA CERTAINLY GAVE ME A NEW APPRECIATION OF CASEY AFFLECK'S TALENT. I FEEL THAT THE ABOVE WOULD PROBABLY BE DONE BETTER JUSTICE WITH A GOOD READ-ALOUD, SLOWLY AND WITH A SOUTHERN ACCENT. IT'S MORE OF A MONOLOGUE THAN A POEM WHICH MAKES ME THAT MUCH MORE SAD THAT I'M NO LONGER PERFORMING.
ANYWAY YEAH, THIS SOUTHERN CHICK HAS KILLED HER LOVER AND HER BOOTS ARE THE ONLY WITNESS.
SOON YOU'LL REMIND ME
TO PAY MY RESPECTS
TO THE GHOSTS OF ROADS,
WHO WALKED THIS PATH BEFORE ME...
SKIN OF THE SOUL
IN THE BEAST OF THE MAN WHO LOVED ME.
HOW I MISS HIS DIRT
AND KEROSENE SOAKED FACE--
HOW WHATEVER TOUCHED HIM
WAS PART OF HIM
LIKE VICES HE WAS BORN WITH,
NOT SOME BAD LUCK PICKED UP ALONG THE WAY.
EVEN WHEN WE FUCKED
YOU LIKED TO WATCH,
YOU LAID IT DOWN.
NOW QUICK AS I LIT IT
(HIS LAST CIGARETTE)
WATCH ME STOMP IT
GRIND IT TO THE GROUND.
SOMEWHAT-THOUGH VERY LOOSELY-INSPIRED BY THE KILLER INSIDE ME, WHICH ALTHOUGH NOT EVERYONE'S CUP OF TEA CERTAINLY GAVE ME A NEW APPRECIATION OF CASEY AFFLECK'S TALENT. I FEEL THAT THE ABOVE WOULD PROBABLY BE DONE BETTER JUSTICE WITH A GOOD READ-ALOUD, SLOWLY AND WITH A SOUTHERN ACCENT. IT'S MORE OF A MONOLOGUE THAN A POEM WHICH MAKES ME THAT MUCH MORE SAD THAT I'M NO LONGER PERFORMING.
ANYWAY YEAH, THIS SOUTHERN CHICK HAS KILLED HER LOVER AND HER BOOTS ARE THE ONLY WITNESS.
Guerrilla Gardening, Part 1 of 3
IN TERMS OF "HAIKU 101" MATERIAL IT'S TURNING OUT THAT I DIDN'T REALLY FOLLOW AS STRICT A FORM AS I SET OUT IN THE SENSE THAT THESE POEMS WON'T HAVE THE ELEMENTS OF TRADITIONAL HAIKU. THOSE BEING A "KIREJI" OR CUTTING WORD THAT IS SUPPOSED TO COME AT THE END OF THE SECOND OF THREE LINES, OR IN MOST CASES AN OBVIOUS "KIGO" (SEASONAL CONTEXT CLUE). I DO LIKE THE IDEA OF THE CUTTING WORD AS GIVING MOMENTUM OR A TURN OR PIVOT TO EACH PIECE, BUT THE MUSICIAN IN ME WANTS TO PLAY AROUND WITH IT A LITTLE. LIKE IN THE FIRST POEM HERE, I'M THINKING THE BREAK DOESN'T NECESSARILY HAVE TO COME IN THE SECOND LINE. I MEAN I'M THINKING, FOR SOMETHING LONGER LIKE A SONNET FORM IT WOULD MAKE SENSE FOR THE TWIST TO OCCUR IN THE ENDING COUPLET, BUT FOR SHORTER FORMS LIKE THE HAIKU WHERE IT SEEMS LIKE ONLY ONE OR TWO THOUGHTS ARE EXPRESSED PER POEM, IF THE BREAK COMES WHERE YOU'RE NOT EXPECTING IT THEN IT JUST TAKES ON A SYNCOPATIC SORT OF QUALITY. AS IN SYNCOPATION. IS SYNCOPATIC A WORD OR DID I JUST MAKE THAT UP? BASICALLY IN MUSIC IT JUST MEANS THE STRONG BEAT NOT FALLING WHERE YOU WOULD EXPECT GIVEN THE METER. SCARILY, I SWEAR TO YOU THAT I AM 100% SOBER RIGHT NOW, WHICH I MUST BE BECAUSE IT'S THE MIDDLE OF THE DAY AND JUST PRIOR TO THIS I WAS DOING REAL JOB-RELATED WORK, WHICH I WOULD STILL BE DOING IF THE SITE I HAD TO REGISTER ON WERE RUNNING SMOOTHLY AND ACTUALLY REGISTERING ME. BUT SINCE IT ISN'T---LUCKY YOU!-- I GET TO VISIT HERE AND POST ALL OF MY SOMEWHAT DISTURBING THOUGHTS, ALONG WITH (HOPEFULLY) SOME POEMS.
I'M JUST REALIZING THAT I WILL HAVE TO REARRANGE EVERYTHING IF I'M PLANNING ON GOING WITH THE ORIGINAL IDEA OF BREAKING THINGS DOWN INTO EARLY/LATE SPRING SECTIONS, OR BY TYPE (FLOWER, VEGETABLE, FRUIT) OR BY LOCATION. ARGH. ANYWAY HERE ARE THE "FIRST EIGHT" WHICH WILL PROBABLY NOT STAY THE FIRST EIGHT, TO GIVE YOU A TASTE OF THINGS.
I. EDEN
FIG LEAVES FALL AWAY--
BRANCHING OUT FROM HOLLOW SKULLS,
ROOTS OF FRACTURED LIMBS.
II. AWAKENING
DAMP VINES ENCROACHING
FORCE THE HARDENED EARTH TO WAKE,
BREATHE HER FIRST WARM BREATH.
III. UNREQUITED
CLOUD THAT BRINGS THE RAIN
SOAK THE GRASS A VIBRANT GREEN--
YOUNG, CARELESS LOVER.
AH. ALREADY I'M HAVING PROBLEMS WITH THIS ONE. AN ISSUE WITH NARRATIVE AS WELL AS SUBJECT-VERB AGREEMENT THAT'S MAKING ME FEEL LIKE I SHOULD JUST SCRAP IT BECAUSE WORK ON SOMETHING THIS SMALL IS NOT SUPPOSED TO BE SO DIFFICULT. AT ANY RATE WHAT I HAVEN'T BEEN ABLE TO DECIDE IS, IS THE SPEAKER TALKING ABOUT A RANDOM CLOUD IN WHICH CASE IT SHOULD READ "CLOUD SOAKS" AS IN THE CLOUD SOAKS? OR WHAT I WAS REALLY GOING FOR IS TO CONVEY THAT THE NARRATOR IS TALKING TO THE CLOUD IN WHICH CASE THE NARRATOR WOULD BE SAYING "CLOUD, SOAK" AS A COMMAND AS IN CLOUD, YOU SOAK. I DON'T WANT TO SAY CLOUD SOAKS PLURAL, BECAUSE THAT JUST ADDS ANOTHER S TO THE WHOLE THING WHICH I DON'T THINK SOUNDS RIGHT. THE WHOLE DILEMMA COULD BE AVOIDED IF I JUST SAY CLOUDS SOAK AND MAKE THE SUBJECT PLURAL, BUT I DON'T WANT TO DO THAT BECAUSE THE WHOLE POINT IS TO FOCUS ON THE ONE CLOUD, AND ITS LIBERAL DISTRIBUTION OF THE RAIN, AND ITS UNREQUITED LOVE FOR THE LANDSCAPE. THE EFFECT OF WHICH IS, OF COURSE, LOST IF WE'RE TALKING ABOUT MANY CLOUDS AND MANY PATCHES OF GRASS IN WHICH CASE WHO THE HELL CARES? BAH. AS AN ASIDE, SO GLAD ENGLISH IS MY FIRST LANGUAGE, BECAUSE IT MUST BE A REAL BITCH TO LEARN. NOTHING MAKES ANY DAMN SENSE!
IV. RUNAWAYS
ANCHORED TO THE EARTH
CHANNELS DEEPEN, SPREADING OUT,
PLOTTING THEIR ESCAPE.
V.
SMALLEST OF ORCHARDS
GIVE BIRTH TO FRAGRANT FLOWERS
FORESHADOWING FRUIT.
VI. UPPER EAST SIDE
EVERYWHERE GREEN--
WEIGHING ALL THE NEW BUDS DOWN,
ROUGH JEWELS AND SPIDERS.
VII. FRUIT STAND
BRICK PEACH, ROCK APPLES--
STREETLIT CEMENT FRESHLY POURED
CHOKES THE PEARS ROTTEN.
VIII. UP ON THE ROOF
EDIBLE GARDEN--
STRAWBERRIES RIPEN AND BURST
BETWEEN SKYSCRAPERS.
I'M JUST REALIZING THAT I WILL HAVE TO REARRANGE EVERYTHING IF I'M PLANNING ON GOING WITH THE ORIGINAL IDEA OF BREAKING THINGS DOWN INTO EARLY/LATE SPRING SECTIONS, OR BY TYPE (FLOWER, VEGETABLE, FRUIT) OR BY LOCATION. ARGH. ANYWAY HERE ARE THE "FIRST EIGHT" WHICH WILL PROBABLY NOT STAY THE FIRST EIGHT, TO GIVE YOU A TASTE OF THINGS.
I. EDEN
FIG LEAVES FALL AWAY--
BRANCHING OUT FROM HOLLOW SKULLS,
ROOTS OF FRACTURED LIMBS.
II. AWAKENING
DAMP VINES ENCROACHING
FORCE THE HARDENED EARTH TO WAKE,
BREATHE HER FIRST WARM BREATH.
III. UNREQUITED
CLOUD THAT BRINGS THE RAIN
SOAK THE GRASS A VIBRANT GREEN--
YOUNG, CARELESS LOVER.
AH. ALREADY I'M HAVING PROBLEMS WITH THIS ONE. AN ISSUE WITH NARRATIVE AS WELL AS SUBJECT-VERB AGREEMENT THAT'S MAKING ME FEEL LIKE I SHOULD JUST SCRAP IT BECAUSE WORK ON SOMETHING THIS SMALL IS NOT SUPPOSED TO BE SO DIFFICULT. AT ANY RATE WHAT I HAVEN'T BEEN ABLE TO DECIDE IS, IS THE SPEAKER TALKING ABOUT A RANDOM CLOUD IN WHICH CASE IT SHOULD READ "CLOUD SOAKS" AS IN THE CLOUD SOAKS? OR WHAT I WAS REALLY GOING FOR IS TO CONVEY THAT THE NARRATOR IS TALKING TO THE CLOUD IN WHICH CASE THE NARRATOR WOULD BE SAYING "CLOUD, SOAK" AS A COMMAND AS IN CLOUD, YOU SOAK. I DON'T WANT TO SAY CLOUD SOAKS PLURAL, BECAUSE THAT JUST ADDS ANOTHER S TO THE WHOLE THING WHICH I DON'T THINK SOUNDS RIGHT. THE WHOLE DILEMMA COULD BE AVOIDED IF I JUST SAY CLOUDS SOAK AND MAKE THE SUBJECT PLURAL, BUT I DON'T WANT TO DO THAT BECAUSE THE WHOLE POINT IS TO FOCUS ON THE ONE CLOUD, AND ITS LIBERAL DISTRIBUTION OF THE RAIN, AND ITS UNREQUITED LOVE FOR THE LANDSCAPE. THE EFFECT OF WHICH IS, OF COURSE, LOST IF WE'RE TALKING ABOUT MANY CLOUDS AND MANY PATCHES OF GRASS IN WHICH CASE WHO THE HELL CARES? BAH. AS AN ASIDE, SO GLAD ENGLISH IS MY FIRST LANGUAGE, BECAUSE IT MUST BE A REAL BITCH TO LEARN. NOTHING MAKES ANY DAMN SENSE!
IV. RUNAWAYS
ANCHORED TO THE EARTH
CHANNELS DEEPEN, SPREADING OUT,
PLOTTING THEIR ESCAPE.
V.
SMALLEST OF ORCHARDS
GIVE BIRTH TO FRAGRANT FLOWERS
FORESHADOWING FRUIT.
VI. UPPER EAST SIDE
EVERYWHERE GREEN--
WEIGHING ALL THE NEW BUDS DOWN,
ROUGH JEWELS AND SPIDERS.
VII. FRUIT STAND
BRICK PEACH, ROCK APPLES--
STREETLIT CEMENT FRESHLY POURED
CHOKES THE PEARS ROTTEN.
VIII. UP ON THE ROOF
EDIBLE GARDEN--
STRAWBERRIES RIPEN AND BURST
BETWEEN SKYSCRAPERS.
Project Haiku
NOPE, NOT DEAD YET. SLOWLY BUT SURELY PLUGGING AWAY AT THINGS. I WISH I COULD POST MORE OFTEN INSTEAD OF JUST SPORADICALLY DUMPING STUFF ONTO THIS SITE, BUT IT IS WHAT IT IS. SOME OF MY THOUGHTS:
1) SHOULD I KEEP THIS ORDER OR REARRANGE THEM ONCE THE WHOLE PROJECT IS COMPLETE?
2) IS IT KIND OF CHEATING TO TITLE THEM? I MEAN, ISN'T THE WHOLE POINT OF A HAIKU TO COMMUNICATE SOME SORT OF PROFOUND MESSAGE IN A VERY SHORT, STRICT FORM? SO IF A TITLE IS NECESSARY TO FURTHER INFORM THE POEM, THEN HAVE I REALLY DONE MY JOB WITH THE POEM ITSELF? THEREFORE ISN'T IT KIND OF CHEATING? AND IF NOT, CAN I TITLE SOME BUT NOT OTHERS? ON THE OTHER HAND, I KIND OF LIKE TITLES, ESPECIALLY CREATIVE ONES. NOTHING BURNS ME UP MORE THAN WHEN AN ARTIST CREATES A REALLY FANTASTIC WORK AND THEN TITLES IT SOMETHING LIKE RED #74 OR WOMAN IN CHAIR IF IT'S A WOMAN IN A CHAIR. OR, WORST OF ALL, UNTITLED....I MEAN....COME ON. THIS DOESN'T JUST BOTHER ME WITH PAINTINGS AND POEMS BUT WITH LIPSTICK TOO. I MEAN, I DON'T REALLY HAVE $20 TO FRIVOLOUSLY DROP ON LIPSTICK. BUT IF I WERE LOOKING FOR THAT PERFECT RED, I'D BE MUCH MORE LIKELY TO SPEND THE CASH ON SOMETHING CALLED INFERNAL OR COVERT AFFAIRS OR SOMETHING LIKE THAT AS OPPOSED TO DROPPING CASH ON A TUBE OF PAINT LABELED RED #74. IN FACT I'M PRETTY SURE THERE ARE WHOLE JOBS THAT JUST INVOLVE THE NAMING OF PRODUCTS. I WONDER HOW ONE LANDS ONE OF THOSE, HYPOTHETICALLY SPEAKING?
3) AM I REALLY GOING TO FINISH ALL OF THIS BY THE END OF AUGUST? IT'S NOT LOOKING GOOD FROM WHERE I STAND. PART OF THE ISSUE IS THAT, TRUTHFULLY, I DO SOME OF MY BEST WORK WHILE DRUNK OR AT LEAST SLIGHTLY BUZZED, AND SADLY THERE IS NO ROOM FOR ALCOHOL IN THIS MONTH'S BUDGET. THIS IS ONE OF THE MANY REASONS I LOVE BEING "ARTISTIC"... WHAT MOST PEOPLE CALL "BUZZED" WE CAN REFER TO AS "INSPIRATION FROM OUR HEAVENLY MUSE" OR WHAT HAVE YOU. JUST AS LONG AS WE DON'T DRINK WHILE TEXTING AND DRIVING. OR WAIT...ACTUALLY I THINK IT'S "DON'T DRINK AND DRIVE" AND "DON'T TEXT AND DRIVE" BUT AS FOR DRINKING AND TEXTING WITHOUT THE DRIVING PART, THAT'S PROBABLY OKAY. UNLESS YOU'RE ONE OF THOSE NASTY DRUNKS IN WHICH CASE YOU MIGHT JUST WANT TO PUT YOUR PHONE AWAY ALTOGETHER.
1) SHOULD I KEEP THIS ORDER OR REARRANGE THEM ONCE THE WHOLE PROJECT IS COMPLETE?
2) IS IT KIND OF CHEATING TO TITLE THEM? I MEAN, ISN'T THE WHOLE POINT OF A HAIKU TO COMMUNICATE SOME SORT OF PROFOUND MESSAGE IN A VERY SHORT, STRICT FORM? SO IF A TITLE IS NECESSARY TO FURTHER INFORM THE POEM, THEN HAVE I REALLY DONE MY JOB WITH THE POEM ITSELF? THEREFORE ISN'T IT KIND OF CHEATING? AND IF NOT, CAN I TITLE SOME BUT NOT OTHERS? ON THE OTHER HAND, I KIND OF LIKE TITLES, ESPECIALLY CREATIVE ONES. NOTHING BURNS ME UP MORE THAN WHEN AN ARTIST CREATES A REALLY FANTASTIC WORK AND THEN TITLES IT SOMETHING LIKE RED #74 OR WOMAN IN CHAIR IF IT'S A WOMAN IN A CHAIR. OR, WORST OF ALL, UNTITLED....I MEAN....COME ON. THIS DOESN'T JUST BOTHER ME WITH PAINTINGS AND POEMS BUT WITH LIPSTICK TOO. I MEAN, I DON'T REALLY HAVE $20 TO FRIVOLOUSLY DROP ON LIPSTICK. BUT IF I WERE LOOKING FOR THAT PERFECT RED, I'D BE MUCH MORE LIKELY TO SPEND THE CASH ON SOMETHING CALLED INFERNAL OR COVERT AFFAIRS OR SOMETHING LIKE THAT AS OPPOSED TO DROPPING CASH ON A TUBE OF PAINT LABELED RED #74. IN FACT I'M PRETTY SURE THERE ARE WHOLE JOBS THAT JUST INVOLVE THE NAMING OF PRODUCTS. I WONDER HOW ONE LANDS ONE OF THOSE, HYPOTHETICALLY SPEAKING?
3) AM I REALLY GOING TO FINISH ALL OF THIS BY THE END OF AUGUST? IT'S NOT LOOKING GOOD FROM WHERE I STAND. PART OF THE ISSUE IS THAT, TRUTHFULLY, I DO SOME OF MY BEST WORK WHILE DRUNK OR AT LEAST SLIGHTLY BUZZED, AND SADLY THERE IS NO ROOM FOR ALCOHOL IN THIS MONTH'S BUDGET. THIS IS ONE OF THE MANY REASONS I LOVE BEING "ARTISTIC"... WHAT MOST PEOPLE CALL "BUZZED" WE CAN REFER TO AS "INSPIRATION FROM OUR HEAVENLY MUSE" OR WHAT HAVE YOU. JUST AS LONG AS WE DON'T DRINK WHILE TEXTING AND DRIVING. OR WAIT...ACTUALLY I THINK IT'S "DON'T DRINK AND DRIVE" AND "DON'T TEXT AND DRIVE" BUT AS FOR DRINKING AND TEXTING WITHOUT THE DRIVING PART, THAT'S PROBABLY OKAY. UNLESS YOU'RE ONE OF THOSE NASTY DRUNKS IN WHICH CASE YOU MIGHT JUST WANT TO PUT YOUR PHONE AWAY ALTOGETHER.
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