Talking over each other, toward-ish not to
but around each other,
behind each
others spinal columns and ghostly
inaction at tiny distances-do nothing near
commons called locales-
Not True?
Anyway,
don’t listen-
when I say,
Enough! I speak for all of us that agree
-could care less about your new shit
or your big problems with your filtering of priorities,
memory filters, memes, alternative egos and the surplus
Time it took to Kill. Reborn
jabberwocky pixelating phantasm self-orgasming
person robin the hood, savior self from
who you think we think you are.
None of us want to see what you ate,
whom you date
yourself by. Don't try to project Person-ality-
when you give backfeed and Forgot how to hear
yourself.
Keep your mouth shut,
didn’t your mother teach you,
manners as a method.
Of saying ‘crazy’ as different,
like the rest, support group relate share the misery-
Take offense? Sure.
You take defense-the rope is taut.
Did it ever strike you as hurtful -to those with a soul-
dead dolphins, gunfire and blood pools, horrors inhumane
over and over to cause shock but do not strike targets.
Empty shells, mortality falls without impact, on humane
little bitties in cities, breathing on napes.
The awe-some is missing
that is the bad (fake) news.
Nobody has good news.Celebration is tinged in green.
Locking ears, locking doors, passwords, scans, investments,
Borders, opportunities, admissions, medical plans, retirement,
Money matters and alchemical altruism,
Like science and solution, we are no closer to Here-ing
answers or pleas
we were not looking for while listening to
the noise, rabble and hum all the while
making no Art of matters
no sense resonates the virtual landscapes,
people posting photos so image lingers, loiters...
muttered some such muse, so much more was
found unsound and lost between flashes.
Painting by Richard Caton Woodville, Sr. [Public domain or Public domain], via Wikimedia Commons.
"During a brief career Woodville produced a number of paintings that serve as key documents of urban life in pre-Civil War America. After training in his native Baltimore, Woodville traveled to Düsseldorf to enroll in the town's renowned art academy. He remained in Germany for six years and then briefly visited Paris and London before his early death at the age of thirty. While an expatriate, Woodville painted small, anecdotal genre scenes recalling life in Baltimore. Portrayed here is a typical scene in mid 19th-century Baltimore as described by Charles Dickens: "[of] all eaters of fish, or flesh, or fowl, in these latitudes, the swallowers of oysters are not gregarious . . . and copying the coyness of the thing they eat, do sit apart in curtained boxes, and consort by twos, not by two hundreds." The humor Woodville usually imparted to his subjects is illustrated in this typical Baltimore scene showing local individuals, seated in the booth of an oyster house, engaged in conversation. This work was executed in Düsseldorf for the Baltimore lawyer John H. B. Latrobe (1803-1891)"
