About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially…
Poetry: “At least, not in the pages of Billboard Magazine / Which chronicled showbiz scuttlebutt in the days / When entertainments were an in-the-flesh affair.”
“One of the things that young writers falsely hope exists is inspiration. A lot of young writers fail because they aren’t putting in the hours. …I think it’s crucial that we have some kind of rhythm. Whether you can write all day every day, or whether you can write four hours on Sunday. Whatever it…
I met a traveller from an antique land, Who said—“Two vast and trunkless legs of stone Stand in the desert. … Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on…
Sports commentary: As a die-hard fan, seeing your team lose in the postseason is a rich source of speculation and mythology. Seeing your team win it all makes for a much better story, save one key conundrum.
Cultural criticism: Steve Miller had a clear-cut legal case when the Geto Boys used his guitar-hook in their raunchy 1990 single “Gangster of Love.” The racial implications weren’t so simple.
Cultural criticism: The Geto Boys’ self-titled third album rattled America’s cultural gatekeepers, making N.W.A and 2 Live Crew look like a society luncheon.
“Araki was the only drink on offer, and the owner sloshed it into a plastic bottle from an unwieldy jerrycan before moving around the room to refill clients’ glasses for ten cents a shot.”
“Whatever Johnny Wadie Red Tabel was, it wasn’t whisky; its flavor was a medicinal blend of anise, vanilla, and laundry detergent, and its buzz arrived in tandem with its hangover.”
Lyric essay: This prose poem jumbles passages from slave narratives and self-help books, Walden and the Hadith, online therapy forums and celebrity memoirs, weaving together a series of age-specific moments that shed light on the boundaries of memory and the complexities of self-presentation.
Satire: “Hey there, I’m a TV show set in New Orleans. I’m about art and integrity, and I don’t give a shit what you think of me.”