Friday, December 29, 2006
I had a half-beagle whom I barely remember get run over by a UPS truck.
I dressed as Indiana Jones for my preschool Halloween party. Later that day I was fiddling with the gear stick in my mother's car while she was in the Post Office, and the car rolled down a slight incline into a lightpole. The lightpole was ruined so the City Of West Bend built a fountain there. A bystander claimed I was waving as the car careened into the lightpole. But I was scared shitless, so probably not.
I participated in an 'Underground Newspaper' in High School called The Night Crawler. The 'Proper Newspaper' was called 'The Night Crier'. My friend and I managed to alienate, piss off, slightly amuse or cause to remain indifferent all of Slinger High School. I did a horoscope where I tried to name every 'Social Clique' in the school. My idea was to tell everyone off equally.
I once masturbated in the back of a bus in Ireland. (This will be the only Item here that involves me masturbating.)
I have been threatened with a lawsuit four times in my life.
Gina, Shafer, Sandra, DUCKPANTS BBPD, Haystack
Tuesday, December 26, 2006
Friday, December 22, 2006
There's also a part in Rocky IV where one can very easily mishear Rocky's manager saying 'Take a crap!' between rounds.
Tuesday, December 12, 2006
Thursday, November 30, 2006
Wednesday, November 29, 2006
Sunday, November 19, 2006
Why does taste matter? Ok. If you like something and I like it too, that gives us something to talk about right? The reason I get along with some of my better friends has a little bit to do with our shared frame of reference. But then, we disagree alot too, and thats fine. I suppose if we disagreed on everything, that would give us alot less to talk about. And you might say, 'Dude, you like that? That sucks!' and I might say 'Dude you like that? That sucks!'
But really, what does liking something do? What are you doing when you like something? Nothing. Stating a preference maybe. But to stand in front of a person and say, 'I like this.' What does it really do unless you talk about why you like it. Is it because it doesn't suck, or doesn't blow, or because it influenced something that came after. I had a friend in High School, who was my best friend, who listened to music that I could not fathom listening to. And then I kind of started to like it, because I picked up on some of the energy he got from it. I also, however, thought during that time of my life that the music I was listening to was really important and that only idiots would listen to 'mainstream music'. But you get beyond your teens and realize that alot of the things that seemed really important to you at the time, don't amount to much. Its really not important whether the other person on the bus likes REM.
That said, I think there's a certain mindset one can get in, where they start to claim music as theirs. They use it not only to define themselves but to define themselves against other people. They start arguements over it, call people names over it. All over, basicly, CDs, 7" singles, who 'owns a copy' of what. I guess it's fun. Fetishization. Which means you use music or literature or film as a way to compensate for something else. I do it. I use art to stand in for whole lot of things that are lacking in my life. But then I also use it to make myself feel more free. And I think its incredibly interesting that other people like other kinds music, books etc.
But I ask you again, if I like something that you don't like, why would you care? Why does it matter to you?
Friday, November 17, 2006
Monday, November 13, 2006
Sunday, November 12, 2006
"Only I can help you realize my dreams of yours."
"Jerri, most of your dad is in the belly of dog."
"How is everyone today? And how am I?"
"But please, no mylar balloons. They deflate. And I don't have the heart to throw them away."
"They only thing we hate more than a racist, is a spic."
"I'll make your pinky all stinky."
"Snatch it down."
"This photo will never see the light of freedom."
"I know you have a beef, Stew. But try not to stir things up."
"That albino is running away with my midget!" (actually censored)
Thursday, November 09, 2006
Wednesday, November 08, 2006
Its very wonderful to discover these kinds of connections. In The Crystal Text, there's a line, "The laughs come in hard in Auld Lang Syne." I knew I'd heard this but didn't know where from. And then I realized its from this song by this man and this man who worked with this woman on her new album. It just makes me feel good, like all the things I like are a little galaxy, stars all corresponding to each other.
Here's a list of some of the sitcoms I've watched on at least a partially regular basis, for the Mr.
hungry cougars making sweet cougar love
the cosby show
the simpsons (sitcom? its debatable)
strangers with candy (likewise)
curb your enthusiasm
king of queens
the andy griffith show
the dick van dyke show
leave it to beaver
the mary tyler moore show
that boy shits more than a mule that got into a bushel of pears!
barney miller (very kickass themesong)
get a life
furry tuna taco
the office (brittish version)
sitcoms I've never watched on a consistent basis:
fresh prince of bel air (is that what its called?)
Tuesday, November 07, 2006
Oh yeah and my friend Elizabeth called me today and asked me if I voted. I friend her. I voted straight dem this time, cause its like what's the point of taking Governor Jim Doyle seriously and choosing him as an individual. I'm more into just voting against the republicans. Anyway my voting philosophy now is to just vote against the people and the shit that are fucking everything up. Strategic negation. For instance, there's a bullshit homophobic amendment up for the vote in WI. How this 'preserving the institution' bullshit is not seen as the straight up homophobia that it is, is truly gross. But yeah you should vote, if its not too late. Vote.
Maybe another time I'll go into my theory of how the dems are basicly just the Washington Generals to the Republicans' Harlem Globetrotters. Showing up as 'the opposing team' in a different uniform and not much else. Er, that basicly is the theory.
And I'm starting a blogzine called docent. Write to me at firstname.lastname@example.org.
Friday, November 03, 2006
Wednesday, November 01, 2006
Western Love has what a cowboy troubador might call little ditties, like this:
My bedroll is wet
with morning dew.
I must find my breakfast.
Nuts and berries are
plentiful, but the brush
is rustling with
The cook returns
the ladle to the chuck
wagon. O friendly
ground, tonight you’ll
substitute for my lover.
Alot of these poems seem to me to have the quality of a note left out for someone, like the famous William Carlos Williams poem, This Is Just To Say. Of course WCW wrote many that have this feel but this is the one that came to mind:
I have eaten
that were in
you were probably
they were delicious
and so cold.
Also Spicer's Billy The Kid and George Stanley's Western poems come to mind. But this one has WCWness to it:
Remember the buffalo
bread you baked? I’ve
never met a better baker.
You sure can shoot, too
and throw a steer
on its side at the rodeo.
Luoma's poems here are a little more appealingly goofy. I don't know whether one can find 'buffalo bread' anywhere. The poems work quite well as a sequence, that is they achieve a cumulitive effect.
Monday, October 30, 2006
1. First 20-30 seconds of The Raincoats.
2. Violin and (is that a kazoo) breakdown during No Side To Fall In.
4. For how much better Lola is than the Kinks version.
5. No rock album has more emotional range.
6. Chorus during The Void.
7. No rock album is more spontaneous.
8. Why am I even putting this in the category of 'rock album'?
9. No rock album is less self-conscious.
Tuesday, October 17, 2006
My part was basically to hatch
with regard for human dignity and life
In my best foreign automobile
stunting the stupor fronting us
On the other hand this was the result
of the fact of having had two faces
completely undiagonosed and undeniable alliances
Cut through the parking lot at the southern most point
I have misplaced my W2
but I am becoming good for people
Scapegoating the badger
Something about her poems is so fuckin quoteable. I can't think of anything else to say right now. She's one of my favorite poets. And where's the fuckin thick spend years reading it gorgeous book, World, huh? I already want Alli Warren's Complete Works!
Friday, October 06, 2006
Stephanie Young is pretty fuckin amazing. In Telling The Future Off, the nerves break down then build back up. Something (I gonna risk sounding corny) redemptive in that. Some of the poems are ironically imbued with self-help sufficiency, but they practice real self-help. And they also help whatever self happens to be reading them. Reminds me of Alice Notley in more ways than one. But yeah, nerves. It seems to ask a very scary question: We've heard phrases like the connectedness of all living things etc., but what we are connected to really? Maybe that's too Matrixy. I also think of what I view as one of the most important things Kerouac said re: his own work and writing in general. When asked by Steve Allen to define beat, Kerouac just said, "mmmm... sympathetic." And then Steve Allen acted as if he thought Kerouac was joking.
Monday, October 02, 2006
Lately I've been digging Rod Smith's In Memory of My Theories and Music or Honesty. His poems sound like nothing else. They're disjunct yet lyrical. About the sonic as well as the investigative possiblities of making poems, the making of making poems. Political in a way that's practiced rather than espoused. From Autopsy Turvy, a sequence in Music or Honesty:
A life is not important
except in the impact it has
on other lives
the invention of new souls
of flame, & of flame
a factor, becoming change
a determining systemic
to be human, to be a sound
of concerns shared therefore really
something that means nothing
but is nonetheless interesting
Sunday, October 01, 2006
But the space created by a qualification that says in effect, 'hey man we don't flip out over poetry either but bare with us while we tell you about this guy John Ashbery coming to town' leaves room for people espousing dull 'populist' poetry to step in. Of course Michael Gizzi touches on this too, re: the Keiller-spin-a-little-yarn school, poetry that offers nothing except being easy to get. Maybe its a capitalist thing, as if poetry can be presented as a little industry, could be sold in trinket shops alongside apple-butter. And I think alot of poetry anthologies try consciously to fit into that niche. Is that from outside, extra-aesthetic pressures or simply from an editor's own prediliction? A little of both, I think. Its also irritating that the markebility of poetry and the popularity of poetry get conflated. And partly as a result of that conflation, writing about poetry/poetry readings that happens outside of a certain sphere tends to come with qualifiers and disclaimers.
Of course art does cause change. It affects perception. That's making an impact. A film, a reading, anything can do that. I guess it comes down to the question, why does the presumed disinterest on the part of some vague readership have to come along with write-ups of certain art/poetry events?
Friday, September 22, 2006
Right now I'm at the university library and soon I'll go up to the third floor and nibble on literature. Is this treating literature as buffet? Trying different books, sometimes reading one word. Sometimes only looking at the author photo. Sometimes only reading the blurb? Or maybe read 10, 20 pages, but thats a stretch, to be honest. In Milwaukee, as in every city, literature as buffet has been going for decades. Does it coincide with television? Talk radio? Where one finds literature as buffet, they are bound to find radio talk nearby. And Jack Spicer is pleased but confused.
Wednesday, September 13, 2006
I haven't read the new Best American Poetry (mmmrrrffff sound accompanied), and I don't know if I will. But one thing that seems to happen with each new one is that people start talking about 'aesthetics' again. And I kind of want to say who cares! Really. To me poetry that actively resists aesthetics is much more interesting. OK. Maybe a poetry that engages aesthetics. Aesthetics exists, as an ideological presence sure. And poetry should not exist in a vacuum. But so often it seems to, in a stuffy, yet disturbingly tidy, white, and yeah male vacuum. I don't think the answer is ignore aesthetics. At least, I don't know of any poetry that does do that successfully. And what kind of goal is that anyway? --to ignore something-- Poetry that would try to ignore aesthics, it seems, would fall into the trap of aesthetics in the worst way.
A poet who I used to read who I don't really look at much anymore is Charles Simic. I used to enjoy some of his poems quite a bit, and when I go back to them I can still kind of see why. But they take this attitude toward aesthetics that feels like 'We all know whats beautiful and what isn't, why trifle?'. There's just a tin-eared presentation of 'images' and 'insights'. To me, this takes away all of the investigative power that poetry has. Same with Billy Collins idea that a poem should be like an easily accesible apartment building, a cushy thing, about as risky as a Fudruckers. And at least you get a Cheeseburger there. In these kinds of poems all you get are images of the white male poet enjoying his own domesticity. Unquestioningly, unless its a question some dead person already covered, and they can put a little aesthetic around the icing, as it were. (mmmrrrrfff)
Like my friend Chuck said, there's a sufficiency thing. Like, heres what my poem does, take or leave it.
Monday, September 11, 2006
Saturday, September 09, 2006
I saw K. Silem Mohammad and Anne Boyer read last night. The word that comes to mind with Mohammad is 'scary'. Things that are 'scary' and then things that really are 'scary'. I got a spooky suburban kind of vibe. And the suburbs are really monstous. His new chap is called Monsters.
Anne Boyer was great. People felt less inclined to laugh during her poems. But I don't see why. They're hilarious. And there's also something like a voice in there. More in the way that Alice Notley's written about voice, as a real struggling presence in the poetry, a part of its emotional anatomy. The traditional (last few decades anyway it seems) context for the word 'voice' is in the Poetry Workshop. 'Voice' is a word with a lot of negative connotation. Its been used traditionally as a way to approach one's career more than as a way to understand what one's doing when one writes poems, or writes anything. But when put just in the context of a poetry reading, its one of the very basic elements. Given all the intertextuality and tone-shifting (as in tone of voice) in Mohammad's poetr, its an interesting paradox that when he reads you just hear his voice. During a reading, one senses a poet's voice before, or at the very least as an inseperable component of , the words as they come at you. It would be different if one were discussing Robert Grenier, who I believe is on record as not seeing the poem as a spoken performance. And even when one is hearing someone like Boyer, or Mohammad, who both use found text, the voice that you are hearing is a good way to learn about what they're doing, or even (eek!) about them. I mean they don't just recite those poems all monotone and matter of fact and then sit back down. They perform them. And what's more, not everyone in the audience was an acquaintance of either of the two readers. I don't think everyone was nessecarilly in any way involved with poetry either. A woman sitting next to my friend Karl, asked how long the reading would take. The reading didn't go long. Its always nice, whether you are or aren't a poet, when a reading doesn't go on forever.
Of course I always think of how William Carlos Williams wrote in such a way that seemed scripted for performance but then wouldn't necessarilly read the poems aloud with any attention to the particularity of his line breaks. But I think the voice of the poet is really important, or least it irrevocably affects one's perception of the poems. Once you hear the voice its sort of like the cat being let out of the bag. In a good a way, like a really exciting secret! Thats sounds incredibly corny. But when I heard Joseph Ceravolo read on a recording, man it was just special. I hear Robert Creeley's voice when I read Robert Creeley's poems. Besides just having a great voice period, bassy and witty, Mohammad plays off of the disembodied subjectivity of his poems in a really excellent and entertaining way. A very memorable voice.
Poetry readings are the only performance-occasions I can think of where the audience needs to be given permission to laugh! I mean, if you're someone like Mohammad, whose poems are high-larious, as funny as any comedian today, then you really have an uphill battle. You have to let the audience know that they can laugh while you're reading, that they don't have to be so fucking solemn. I mean I don't know if he consciously does anything toward this end. But there's an almost instant unspoken understanding from the audience. The are definite analogies between poetry-reading and stand-up comedy. Steven Wright is someone who both poets and comics should look at. (Duh!) One very brilliant thing he does is after being introduced is go up before the audience, and for a second say nothing, and then very drolly, 'Thanks'. I'm not saying everyone can do what Steven Wright does, but this does something to his audience. I wish poets would think about that more. But yeah there definitely needs to be a CD or something of K. Silem Mohammad reading.
I think my favorite part of the evening might've been when Anne Boyer read "Is Poetry for Assholes?". Of course some in the audience reflexively said 'Yes'. Anne Boyer was kind of bemused then, and she said "No! Poetry's for the sweethearts!" It is.
Monday, August 21, 2006
Monday, August 14, 2006
I thought of that song about a magic carpet ride. Now you're thinking,"Does he mean that Steppenwolf song or the song from Alladin?" Either one I guess. But, how many poems are like a magic carpet ride?
Tuesday, August 08, 2006
Tuesday, August 01, 2006
Friday, July 28, 2006
There's this cell phone ring that is without a doubt the most annoying I've ever heard. It sounds like depravity disguised as playful jollity. Like two murderous clowns masturbating each other.
Thursday, July 27, 2006
Tuesday, July 25, 2006
Monday, July 24, 2006
Now things have changed so drastically that the divisions that once could be taken for granted really don't exist anymore, not the way they did. I mean, mainstream country still fills stadiums, state fairs and festivals in rural areas. But who is its biggest star? That Keith Urban guy seems to exist almost as Nicole Kidman's husband more than as a Big Country Star. And an artist that I currently obsess over is Ariel Pink. But that obsession doesn't seem to mean the same thing. In the 90s (tho I only realized this in retrospect) Pavement were the band to say you liked as a leveraging against mainstream music. Ariel Pink has a following I'm sure. But 'followings' have multiplied exponentially. A friend of mine has a running joke where he's being asked "Whats your subculture dude?" But there really haven't been any new subcultures in this decade. Can you call 'electro' or 'alt-country' or 'garage rock' a subculture? Goth is a subculture. It exists almost indenpendently of the music. But the subcultures almost seem to be disappearing. Where did rave culture go? It might have just gone where I can't see it. But there don't seem to be viable subcultures within which innovative music is happening-- where an integral part of the subculture is that music be somewhat forward-looking or at least try avoid cliches. There's always been an uneasy detente between style and music in musical subcultures. But the word subculture, that nomenclature just doesn't work anymore. It doesn't mean anything to say you're punk. In the 90s, maybe right before it ultimately got subsumed into the mall culture, it seems like it did mean something to say that. But now, if someone's a punk it might just mean they shop at a certain store. Or that they ride the rails. There are still basement shows. They're a part of indie culture, which is a huge thing. It can encompass restaurants, shops, bars. Its always been like that. But now it seems to have lost definition or at least shifted.
It might just be that I'm out of touch. I was never in touch. I never went to punk shows as a teenager. I ordered CDs through the mail, from my house in the Township of Addison, Wisconsin. Of course alot weird music still happens inside and outside the indie network. But opposing the mainstream doesn't seem as vital now, because its harder to see what the mainstream is.
Thursday, July 20, 2006
One of Language Poetry's main innovations seems to be forefronting the process of writing a poem. Like, to put it bluntly, how the fuck did Bruce Andrews write this. Of course I'm completely ignorant about Bruce Andrews and alot of other Language Poets. And the term Language Poetry is kind of outdated and maybe was never taken that seriously by the people who are classified as such. I mean Charles Bernstein and Bruce Andrews edited a mag called L=A=N=G=U=A=G=E, but I don' t think I've ever read anywhere where one of them said, "Well, as Language Poets, this is what we do." I know the early writing is kind of in the vein of manifesto, which turns me off from the get-go. And there is some sense of a project, a collective undertaking, but only in that the writers read each other's work and encouraged each other. Almost all writers who don't live in the mountains or something do that. LP's were maybe just more explicit in doing that.
There's alot of paranoia almost to the point of urban myth surrounding LP. I heard a story about Robert Grenier having lunch with Tom Clark. So the other 'language poets' parked in front of his (Grenier's) house as a protest. This is they story I heard. Whether its true or not really doesn't matter.
When I've taken workshops, I've heard people say things like 'well its kinda languagey' about certain poems. To me this is just code for 'I'm not gonna try and understand this'. But then if one goes into most workshops in hopes of having a really enlightening experience, they're gonna be pretty dissapointed. I had a professer who warned their students about Language Poetry, which is totally stupid and defeating what they should be doing, which is saying 'Well check it for yourself. Go investigate.' I think anyone who's dedicated will do that anyway, but it still doesn't help to have a stigma attached to something. I don't see the point of telling your students not to read something.
I don't really know why I'm spending so much time on Language Poetry. Its way in the past. A phenomenon of the late 70s and 80s. Alot of those people are still doing interesting work. But the 'Language Poetry' thing is over. The way LP was treated tho seems to be applied to 'experimental' poetry in general now. 'Experimental' seems like an even more meaningless term. There's a level at which this is all rhetoric. Throwing words around.
At the university level, poetry is regarded as part of a canon. And certain poetry is willfully left out of the canon. And you could say, "Good. I don't care whether people regard Joseph Ceravolo as in the company of someone like Robert Frost anyway." But then, right now, no Joseph Ceravolo books are in print. So one can't really say "I'll have my Ceravolo and you'll have your Frost" because Ceravolo's books are not available, except from certain university libraries and rare books rooms. Or you could look for them online. A copy of Wildflowers Out of Gas might run you hundreds of dollars. With Frost, you could find his books at any local bookstore.
Tuesday, July 18, 2006
Friday, July 14, 2006
Wednesday, July 12, 2006
Monday, July 10, 2006
Wednesday, June 28, 2006
Alifib by Robert Wyatt
Not nit not nit no not
Nit nit folly bololey
Alifi my larder
Alifi my larder
I can't forsake you or
Alifi my larder
Alifi my larder
Confiscate or make you
Late you you
Alifi my larder
Alifi my larder
Not nit not nit no not
Nit nit folly bololy
Burlybunch, the water mole
Hellyplop and fingerhole
Not a wossit bundy, see ?
For jangle and bojangle
Pip pippy pippy pip pip landerim
Alifi my larder
Alifi my larder
(I'm not your larder,
jammy jars and mustard.
I'm not your dinner,
you soppy old custard.
And what's a bololey
when it's a folly?
I'm not your larder,
I'm your dear little dolly.
But when plops get too helly
I'll fill up your belly.
I'm not your larder,
I'm Alife your guarder).
Tuesday, June 27, 2006
Thursday, June 22, 2006
Tuesday, May 02, 2006
'The Wild Ones' by The London Suede is a really good song. I first saw the video for it on 120 Minutes. I miss that show. Most of what was shown on it was pretty bad, but I'm still nostalgic. Maybe for that time in my life, when everything seemed at once very possible and very far away. Distance can increase the feeling of responsibility.
Tuesday, April 18, 2006
Bugskull: Phantasies and Sensations
Mercury Rev: Yerself is Steam
Lisa Germano: Geek the Girl
Lisa Germano: Happiness
Versus: The Stars Are Insane
Daisy Chainsaw: Eleventeen
Aphex Twin: I Care Because You Do
Mouse on Mars: Autoditacker
Jesus and Mary Chain: Stoned & Dethroned
Disco Inferno: DI Go Pop
Magnetic Fields: Charm of the Highway Strip
Elliot Smith: Roman Candle
The first Tricky and Wu-Tang should both have been in the top ten. I don't think OK Computer is the best album of the 90s. To me whats notable about it as much as anything else, is that it marked a return of The Serious Rock Band Trying To Make The Greatest Album Of The Decade concept. In that respect it isn't surprising that many critics regard it as such, but to me the album as a whole seems more like a Dark Side of the Moon type effort. If one's thinking about influence, which these lists usually are, Radiohead were and are influential. Maybe I'm too much of snob, but I'll always resist the notion that influence alone equals greatness. If you mean influence over other musicians, then don't we have to start giving Steve Vai props too? He's not on Pitchfork's list. If you mean cultural influence, then doesn't Brittney Spears loom much larger in the 90's pantheon than Radiohead? A critic should suss out to some degree what was its own commodity, unlike anything else, and how it attained/attains those qualities. And yeah there is some measure of importance to be considered.
Monday, March 20, 2006
Friday, February 10, 2006
There is alot travel, physically and mentally. Most poets who focus on 'nature' or natural phenomena, seem to be all about being closer to an otherness, that might be God or some other mystical type mojo. Alot of it just ends up sounding sanctimonious, like someone worried over whether they appreciate something enough. In a book, like Rivers & Birds, which might be categorized as Nature or even Birding, the narration is of watching land as it passes. The sense of mental travel comes from memory and a sense of forlornness. When there is exhultation, its an intent, precise exhultation. Which seems very unlike most writing about nature, where is there is a narrator speaking for the birds and trees, and then they're talking back too and telling the narrator (of course) something about George Bush. Gilfillan has a deeper respect for his experience of the places he goes to.
Thursday, February 09, 2006
I've been waiting for this. Merrill Gilfillan is one of the great underrated poets of recent American poetry. His vocabulary, brea(d)th, and ear for poetry is spectacular and regenerative. The poems are like prairies, some large, some small, all outwardly blooming yet unfettered by the author's ego, or by preconcieved ideas about nature. The language has a way of blossoming out from itself, while still maintaining a train of thought. There's nobody like him. More later.
Tuesday, February 07, 2006
WORKS & DAYS
Read My Trip to New York City, because I heard it compared to Tambourine Life by Jordan Davis. Ok is that sycophantic? Well I didn't pay for it. Checked it out. And its pretty amazing. A series of paragraphs that connect but are self-contained by seperate ideas/observations/memories. People from Luoma's life (presumably) are in them: Douglass, Helena, Brian. Also Paul Molitor and Robin Yount. My favorite paragraph:
"There was a perfect cab ride from 13 th street to Brooklyn. It was at a late hour and I can say that the streets were as empty as they were going to get. The cab driver was a rasta, so he already knew the concept. After abouth the fifth time me and Douglass looked at each other every time we made a light. We noted that the speed was 32. The driver sang just my imagination in what was pretty close to a high falsetto. We didn't miss a light."
A brief passage in a much larger text, but so lovely. In prose that's terse enough to avoid becoming tedious, but not too terse to have "pretty close". It's speech but it's spot-on marvelous, all connected by the web that is one's social life and experience. Each sentence has a new detail-- cab ride from 13th to Brooklyn, late hour/streets empty, driver is a rasta, looking at each other, making every light, speed of 32, driver singing, almost a high falsetto voice, making every light. Does one go ahead and say that making every light is a metaphor? Its works more as a journal, evoked with such efficient vocabulary and description. The idea is that vernacular is modulated, sort of, to tell the story in a more streamlined and more vivid way. Its a driving prose. So OK, Kerouac wrote pretty famous driving prose. But the literal action here contains a trek from point A, Manhattan, to point B, Brooklyn. It went smoothly, though one might have said it went smoothly because there wasn't a flat tire or a mugging. This ride went so smoothly, it made the speaker and Douglass look at each other each they made a light. It was a brief spot when one felt like one glided through.
This whole work is pretty great example of what's become sort of a genre, which could be called Social Diary. A notable precursor is Ted Berrigan's letter to Ron Padgett from the Berkley Poetry Conference. One's documenting specific streets, places, people. The speech resembles them recounting it all to you, maybe over the telephone. A funny quote, the perfect cab ride, a taxi driver with a high falsetto voice.