The ******* of embezzled glory staunchly defend their counterfeit stature by defalcating the public trust of industrious societies governed internally by compunction and sabotaged externally by the tempests of acerbic fate met with inclement aleatory convergence. To supply a society with ingenuity without being complaisant or officious with unctuous pleas to the overlords we must fashion a new vogue that taps the bustle of giants and aggrandizes the margins to oversee their own creative destinies with scaffolded arrangements of titanic promise and justifiable fluidity to conquer the blinkered dogmatism of a dissolute chastity to inveterate apocryphal tenets of factitious but unmerited perspectives. Democracy crumbles when the convenience of sensationalism supplants the resolve of those that fossick hidden wealth and promulgate validity instead of undergirding pomp with precarious prevarications of duplicitous omission guarded gingerly by the gatekeepers of a ****** sanity that whitewashes the discussion with invented hobgoblins and purblind catharsis. To defeat simplicity and enshrine byzantine elegance as the paragon for voguish commentary rather than abide by a bowdlerized decorum for appeasing simpletons with divisive balkanization through identity politics we can overcome the impediments to human progress that are engineered to persist because of the inertia of the listless and the stubbornness of doctrinaire politicization and invent vivacity and festivity anew. We need to divorce ourselves from pedestrian quibbles of hero-worship that endanger the vitality of the common discourse because of fastidious pedantic disempowerment that ravages us with debased dreams by underscoring nuisances and tolerable nightmares that emasculate the virulence of the liberated individual and subvert his ambitions to contend with a picaresque world of limitless promise and self-motivated internal wealth.
      The bane of modernity is how chary the world becomes because of fractured histories intersecting with controversial destinies and the antidote to that poisonous self-defeating self-censorship is the audacity of brazen challenges to expurgation through assiduous resourcefulness and delicate diplomacy in wrangling controversies with outspoken courage rather than whispered resentment. Temerity waged in inclement circumstance is justified and curiosity stoked by lambent flames of fulgurant individualism should be fortified to the extent necessary to conquer the feckless spoilsports of unctuous puritanism and institutional obedience. The quacksalvers that blather about inconsequence strand the imagination in a desiccated desert that is ostracized from the palettes of the artistic whim to wield efflorescence rather than squander life in pursuit of perfunctory lucre or tenuous solidarity around banal idealism promised by social justice warriors that forget the biggest war being waged on humanity is on the ingenuity of the common discourse and the liberty to opine about real issues rather than saccharine conventions of emasculation through linguistic imprisonment and epicurean slavery to fashimites who relish the buzzword but never the enlightened audience that scoffs at feeble attempts at cultural commentary like Childish Gambino’s “This is America” music video. This particular artifact is a demonstration of how childishly fickle the plebeian mentality really is, stitching together a bricolage of violence to engineer controversy and serenading it with the most banal music imaginable and exhorting people to herald it as a high artform while inundating the world with unimaginative comic book movies and Star Wars rip-offs because of the lucrative business of formulaic replication. “This is America” should be regarded as a parody of itself because of how hackneyed its design is and how cacophonous it sounds and mocks its audience with lowbrow tactics of adding tinsel to trash and marketing it as the glory of tatterdemalions rather than the refinement of true cinematic achievements that have been relegated because Warhol’s Campbells-Soup-consumerism trumps true belletrist in the public view.
        Cultural watersheds punctuate our history with salient achievements in experimentation, but the formulaic profiteering of buzzword sensationalism and yellow journalism and the ostentatious glorification of promiscuous boasting and fancy cars tantalize the mice to continue playing slot machines rather than penning a novel or doing something promethean. The world scoffs at Trump but ignores the bigger institutional caveats that endanger us much more than a pragmatic albeit unconventional pontificator who is complicit in constructing a false narrative to enslave mindless people to fret about eminence rather than delight themselves in the consequential nuances of established refinement that used to serenade the world with flourish and spectacle. The world kowtows to the crusade against flavor-of-the-week enemies of the liberal-conservative syncretism because it has been conditioned to believe that synthesis is the only logical solution for the polarized worldviews of churlish people that become parvenus not on their merits but on their marketable pitfalls and their public foibles. Peccadillos are more important to people than virtues and this makes society morally bankrupt if we loiter around Astroturf causes that have been infiltrated by corporatism and venal debauchery and acquiesce as disempowered gossip hounds that hunt in packs to find jest in aberration rather than achievement in self-created narratives that defy the stupid purblind boorishness of the mainstream media and its haughty liberalism or the persnickety condemnation of priggish conservative moralities that had an expiration date 50 years ago. Who the **** cares about transgender-touting-gender-fluidity quidnuncs and the snooty obsession with lurid personal endeavors of reputable people that made minor ****** transgressions in a world policed by wide-eyed feminazis that seek to ransack men of their vital virulence to spotlight their unjustifiable oppression. Women are oppressed but the carnal nature of their calumniation and their vindictive powers of persuasion are deployed with such vehement vigilance and such distaste for the majority that the world relegates itself to quibbles of celebrities rather than substantive issues. There is a systemic feminization of society occurring that seeks to demarcate despotic uxorious pleasantries as an incarceration of vocal dissent against supercilious women and their tamed men that slavishly grovel in repudiation of anything prickly.  Men historically have oppressed women but the solution to this quandary isn’t a reverse discrimination where the minority concern is spotlighted as a majoritarian issue that overshadows the disproportionate nature of our society where nominal accreditation is afforded in a non-meritocratic way to absolve people of their carnality and demote the vigorous defense of human liberty as secondary to compromise solutions that appease more people than they offend but simultaneously result in suboptimal conditions that reward arbitrarily coachable people while jettisoning anyone witty enough to be capable of insubordination of a hedonistic epicurean world obsessed with appearance and ravaged by the decadence of formulaic profiteering at the expense of originality and true promethean art that is herculean enough to defy hackneyed tropes and siphon the best elements from a piecemeal world variegated with complexity but stifled by fomented hatred.
The solutions to these problems is to create a watchdog group of artistic critics who become eminent and ubiquitously heard enough to offer creative consultation to the artistic endeavors that we consume and the music that is curated for fastidious ears that crave euphonic originality rather than the banality of easily dovetailed bass-heavy cookie-cutter garbage and the gaudy tactics of talentless rappers whose swagger derives from  the intersection of opportunism and the divestiture of an industry that rewards gloated supercilious epicureanism and meretricious marketability. Am I the only one jaded by second-rate superhero movies that infest the cinemas that borrow from Michael Bay while thrusting pulse-pounding but narratively bankrupt movies down the throats of consumers that might prize the cinematic originality of the heyday of filmmaking? Is it always high art to invent controversy that is witless or half-witted just because it will create buzz? Shouldn’t we condemn the laziness of society in acquiescing to the penury of the modern cultural narrative which belabors the dead horses of racism and sexism ad nauseum? Shouldn’t we fight the war of against inequity through legislation rather than hibernating about scandalous eminence and testy malfeasance?
          Liberty should be championed above all else and we are turning our backs on the future unless we muster the resolve to diminish the sway of the common narrative and aim our spotlight at consequential endeavors rather than the tropes of prosaic and pedestrian bastardization of art and culture. We need to fight artistic laziness which has ravaged our culture and castigate the tactics of wannabee celebrities that use lurid tactics to attract an audience by bedizening themselves with Pyrrhic ostentations and rampant fakery to create more melodrama in a world that needs to be less histrionic. YouTube celebrities swarm us as they get high on ******* and lean-- at our expense-- and vandalize property and convincing nine-year-old’s like Lil Tay to flex her money like it is infinitely renewable in a finite world where all our attention is wasted on artless artifice of less talented people that know how to engineer a ruckus by strutting themselves beyond all decency and selling out to a corporatist nightmare of enslaved convenience. We need to be more vocal about the dissolution of artistic merit and the formulaic repetition of successful formulas that jade us and make us yawn about another retread of a previously successful idea that is milked to the point of cruelty.                                                         ­                       
       Let’s change the narrative and focus on creating true art rather than reacting to the meretricious tinsel of the vogue consensus which is so impotent in its ability to rivet audiences because it has become so notoriously lazy. Fight laziness in art, dismiss your news feeds, be resourceful, seek true happiness rather than find yourself hoodwinked and duped by the idea that Trump is the most important issue or getting caught in thought loops and brooding about sexism and inequality. Let us strive to be egalitarian but within limits that would also appease hominists rather than just the hypertrophy of the leftist narrative that seeks to cage us with the doublespeak of complaisant conformity.  Reject the unctuous charlatans that pretend priggishness when their banausic purpose is barbaric but beguiling to be a lullaby for laggards. We need to fight for the future of civilization rather than hobnob with convenience and loiter around decrying false perpetrators rather than systemic injustices that could otherwise be rectified if enough people fought for it. We can invent a future that is a great festivity serenaded by cultivated artistic refinement and forget about the trifles that divide us. United in ambition and fueled by ingenuity we can defeat artistic laziness and be resourceful with how we decide what is newsworthy. Spurred by the argosy of proactive motivation we can change the world in a substantial way by deciphering the subtext that governs the world. The subtext is everything!

Leg off the table
you red face recruit!
put on the offensive
and break down
the bolted door!
you are the soul saver
the peddle maker
the calibrator
with colored handbills
and front line
rhetoric

join the masquerade
in ivy league style!
politicking with
cunning guile
invisalign smile
blackened vile
bleeding the funnel
with gold plate omega
and crocodile shoes

get on stage
and dance you fool!
you are the headline maker
the pantomime juggler
the compromised closer
pull out that 5 page review
(bullet points only please)
and polish those weathered lines!

did you give it your all?
the door tags
and pleasantries
the tidings
and clippings
the irrevocable claims
and postured blames
all those impressionable basics
put to the test?

you know the call
(straight from
those cold academics)
the pie chart gurus
and contract killers
(complete with bone in finger)
whipping their
frenzied crew
in an all night
charade

old yellar
and the gatekeeper
sure seem amused
(sharpening their inquest
behind closed doors)
firing up the shiit storm
with those hostile priicks
and a slew
of insatiable
cures

there’s laughter from the back room
the dripping nose
and wavering hand
the cut white lines
and checkpoint tales
the pipeline romance
and lacking form
(of a basic essential
character!)

soundboard
and narratives
for logging time
slouching on the
steel case
over moot points
ready to play
the 3 weight
butter card
(if need be)

might I remind you
it’s only an inquiry
(with a slight hint of concern!)
surely no
malfeasance
or deception intended
so step back from
the melt down
and cut to the chase!

headlines to breadlines
penthouse to outhouse
those immoral pursuits
have taken their toll
(haven’t they?)
madman or rogue
(you take your pick)
for the scores
and tabulations
are final

shame on you
for the foul play
the bold hypocrisy
and order desk games
the back stabbing blames
and spurious names
just sign on the dotted line ~
this banter
is killing me

It all begins
With pronouns
I becomes the subject
Of my project
Adding you
And collectively we
I choose you and me
And I exclude the he and the she
Until I am certain of we

You and I pick verbs
actions

Inflect them to match
fit
begin narratives

Transitive verbs take objects

You touch
tickle
tease
taste
take skin
*******
lips
me with words

Words have become a clause
But still a simple construction
So, you tickle me where?

For this you need a preposition
To position your tickling ammunition
Do you touch
tickle
tease me ON my *******
*******
thighs
buttocks
****?

Do you feel me INSIDE my mouth
****
soul?
Positioning is envisioning.

Then you use adjectives
To modify descriptions of
Sensory inscriptions
So, gentle complements touch
Soft and passionate kiss
And you become superlative

And adverbs elaborate experience
expression
exploration

You fill me deeply
thoroughly
violently with all that is you

But adverbs can also mean time
Not sweet or cursed time
Or time denoting age
But timing is always important
And grammar dictates
That
Time adverbs are placed
As a beginning or an end
Like a lover's embrace

Thus,
This morning, you woke me with
A demanding "here and now! " and I will reciprocate this, tonight, I vow.

Conjunctions are sentence connectors
And sentences behave like detectors
Bodies balancing with and, but, or
Otherwise subordinate
And the scale tips towards
Conditioning hypotaxis
Making actions a complicated praxis

(before my mind can connect, you will have to pursuade it /pursue it)

But we coordinate conjunctions
Equally
I touch you
You touch me
Exploring
Exploding sensory functions

So, together we cry imperatives
Completing our ****** narratives

Moaning
Whimpering
Begging
Yelling: Please... bind me!
touch me!
bite me!
take me!
come!

Oh! Please, come!

I love the English language... ;)

Whether in Montreal, where she was born and raised, or in Delhi, where her award-winning brasserie sits, the stylish chef’s love for gastronomy has always run deep. She came to India to chase her passion about eight years ago, after leaving behind an engineering career and having trained at the esteemed ITHQ (Institut de tourisme et d’hôtellerie du Québec). In 2014, she introduced unusual combinations like oysters with charred onion petals, tamarind puree, and rose vinegar when she became the first Indian chef to be invited to host a solo dinner at the James Beard House in New York City. Also presented there was her very own coffee-table book called Eating Stories, packed with charming visuals, tales and recipes.

In pursuit of narratives

“I am studying Ayurveda so, at the moment, I’m inspired by the knowledge and intuition which comes with that, but otherwise I completely live for stories. Those of the people around me — of spices, design forms, music, traditions, history and anything else I feel connected to.”

Culinary muse

“I truly believe that nature is perfect, so I feel privileged to use the ingredients that it provides, while adding my own hues, aromas and combinations…it feels like I get to play endlessly every day.”

After-work indulgence

“My favourite places to eat at are Cafe Lota and Carnatic Cafe in Delhi, and Betony and Brindle Room in NYC.”

Dream dish

“This salad I created called ‘secret garden’. It’s so beautiful to look at and has such a unique spectrum of flavours…all while using only the freshest, most natural produce to create something completely magical.”

Reception blooper

“Most people make the mistake of over-complicating the menu; having too much diversity and quantity. Wastefulness isn’t a good way to start a life together.”

A third-generation entrepreneur from a highly distinguished culinary family, she runs a thriving studio in Khar where state-of-the-art cooking stations and dining tables allow her to conduct a variety of workshops and sessions. Her grandfather is remembered as the man who migrated from Africa to London to found the brand that brought curry to the people of the UK — Patak’s. She took over as brand ambassador, having trained at Leiths School of Food and Wine and taught at one of Jamie Oliver’s schools in London. What’s more, Pathak is also the author of Secrets From My Indian Family Kitchen, a cookbook comprising 120 Indian recipes, published last year in the UK.

Most successful experiment

“When I was writing recipes for my cookbook, I had to test some more than once to ensure they were perfect and foolproof. One of my favourites was my slow-cooked tamarind-glazed pork. I must have trialled this recipe at least six times before publishing it, and after many tweaks I have got it to be truly sensational. It’s perfectly balanced with sweet and sour both.”

Future fantasy

“As strange as it sounds, I’d love to cater my own wedding. You want all your favourite recipes and you want to share this with your guests. I could hire a caterer to create my ideal menu, but I’d much prefer to finalise and finish all the dishes myself so that I’m supremely happy with the flavours I’m serving to my loved ones.”

Fresh elegance

“I’m in love with microgreens for entertaining and events…although not a new trend, they still carry the delicate wow factor and are wonderfully subtle when used well. I’m not into using foams and gels and much prefer to use ingredients that are fuss-free.”

This advertising professional first tested her one-of-a-kind amalgams at The Lil Flea, a popular local market in BKC, Mumbai. Her Indian fusion hot dogs, named Amar (vegetarian), Akbar (chicken) and Anthony (pork), sold out quickly and were a hit. Today, these ‘desi dogs’ are the signature at the affable home-chef-turned-businesswoman’s cafe-***-diner in Bandra, alongside juicy burgers, a fantastic indigenous crème brûlée, and an exciting range of drinks and Sikkim-sourced teas.

Loving the journey

“The best part of the job is the people I meet; the joy I get to see on their faces as they take the first bite. The fact that this is across all ages and social or cultural backgrounds makes it even better. Also, I can indulge a whim — whether it is about the menu or what I can do for a guest — without having to ask anyone. On the flip side, I have no one to blame but myself if the decision goes wrong. And, of course, I can’t apply for leave!”

Go-to comfort meal

“A well-made Bengali khichri or a good light meat curry with super-soft chapattis.”

What’s ‘happening’

“This is a very exciting time in food and entertaining — the traditional and ultra-modern are moving forward together. Farm-to-fork is very big; food is also more cross-cultural, and there is a huge effort to make your guest feel special. Plus, ‘Instagram friendly’ has become key…if it’s not on Instagram, it never happened! But essentially, a party works when everyone is comfortable and happy.”

A word to brides

“Let others plan your menu. You relax and look gorgeous!”

This Le Cordon Bleu graduate really knows her way around aromas that warm the heart. On returning to Mumbai from London, she began to experiment with making small-batch ice creams for family and friends. Now she churns out those ‘cheeky’ creations from a tiny kitchen in Bandra, where customers must ring a bell to get a taste of dark chocolate with Italian truffle oil, salted caramel, milk chocolate and bacon and her signature (a must-try) — blue cheese and honey.

The extra mile

“I’ll never forget the time I created three massive croquembouche towers (choux buns filled with assorted flavours of pastry cream, held together with caramel) for a wedding, and had to deliver them to Thane!”

Menu vision

“For a wedding, I would want to serve something light and fresh to start with, like seared scallops with fresh oysters and uni (sea urchin). For mains, I would serve something hearty and warm — roast duck and foie gras in a red wine jus. Dessert would be individual mini croquembouche!”

Having been raised by big-time foodie parents, the strongest motivation for their decision to take to this path came from their mother, who had two much-loved restaurants of her own while the sisters were growing up — Vandana in Mahim and Bandra Fest on Carter Road. Following the success of the first MeSoHappi in Khar, Mumbai, the duo known for wholesome cooking opened another outlet of the quirky gastro-bar adjoining The Captain’s Table — one of the city’s favourite seafood haunts — in Bandra Kurla Complex.

Chef’s own

AA: “We were the pioneers of the South African bunny chow in Mumbai and, even now, it remains one of my all-time favourites.”

On wedding catering

PA: “The most memorable for me will always be Aarathi’s high-tea bridal shower. I planned a floral-themed sundowner at our home in Cumballa Hill; curtains of jasmine, rose-and-wisteria lanterns and marigold scallops engulfed the space. We served exotic teas, alcoholic popsicles of sangria and mojito, and dishes like seafood pani puri shots and Greek spanakopita with beetroot dip, while each table had bite-sized desserts like mango and butter cream tarts and rose panna cotta.”Read more at:http://www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/red-carpet-celebrity-dresses

lines cut heavy
on a button stretched brow
thick rubber shoes
and dragon canes
fill out the closet floor
gospel sounds
and narratives (drowned)
apparitions set sullenly
amid voices from the past

finger pins
and crosswords
find the favor list
point men and preachers
tip up their tuscany caps
twitching and sign gazing
with spectacles held firm
recurring evening news
and beadledom views

clappers and caregivers
raise a crooked foot
grips and rockers
settle in on the front porch
gertrude grimaces
at an untimely turn
as the gooseberry pie
(with a smidgen of cloves)
chills by the night watch

Outside of a bar in a North Carolina strip mall, stone cold sober because I am scared to use my fake, I feel drunk as you sit next to me. Perhaps I am. I'd have to be to think maybe, maybe, maybe, when I know, I know, I know.

Your hand brushes against mine, and you're saying the most beautiful words I've ever heard, and the fire in my heart spreads up, down, left, right. But it cannot spread just four inches outside of my body. It cannot set you on fire, too.

We listen to each other and hear two very different things. You are birdsong outside of my window that I am eager to hear; I am traffic outside of your window you've learned to tune out at bedtime.  

If there are nine million bicycles in Beijing, then Beijing is my insides and bicycles are your name, because it is written on my insides nine million times. But there are no bicycles on Antarctica. There is no use for them there, just as there's no use for my name to be perched on a straight girl's ribs.

You tell me my weird hobby of listening to French rap music is awesome, that it's so cool that I'm teaching myself three languages, and that you want to be me when you grow up - I laugh, because you're several years older than me. Selfishly I catch every droplet of your praise.  I ruminate on it for hours, for days. It means more to me than it should.

My name sounds like a compliment from your mouth. I try not to say yours too often, so you don't grow tired of me being around. If I can't set your insides on fire, I want you to want to be my friend. Even that feels like I ask for too much.

In every scene, I see you in the foreground of the narrative. For me, it would be on honor to be one of your background characters. Narratives are richer with them anyway.

I look at you and you are the Harry Potter movie marathon I wait months for. For you, I am the 2 am infomercial you fell asleep to. But I don't mind half as much as I should. Even white noise has its place in someone's life.

Till you can’t walk
Till you are sore,
Yet still smiling
from the thrilling experience,
Till you are sweating pleasure
from every pore.
Till your breath murmurs
my first name with every inhale
Till my voice is the only sound
your ears need to hear.

i would
rest my head on your breast
and listen
Enjoy the sweet tunes composed by
every noted word you harmonize

Tales of your life stories before they became entwined with mine
Narratives about your dreams
About who breaks your glassy heart
And what tickles your eye-ducts
into opening a flood of tears.

an inner world of wishes
she deserves beautiful things,
The Nubian Queen,
Sunflower Child.

~ New-Black-SoUl #NBS

(I hate poets.
They annoy me deeply.)

I.

There are the balladeers,
Working in service of their inner Service,
(Though, despite the seeming impossibility,
Their hackneyed verse is even worse)
Creating tortuous rhyme
Which slows down labyrinthine narratives
Ending up in some deus ex machine
So implausible that it would make Euripides blush
(Most often courtesy of some unforeseen projectile
Or sudden viral contagion;
Would that their creators meet such a fate!)

II.

I come not to praise the so-called sonneteers,
But to bury them.
They are an earnest lot,
(Lord knows that they are earnest)
And they will make their fourteen lines rhyme
(Though sometimes the rhyme scheme screams for mercy)
And hang the cost.
Though their narratives are head-scratching things,
And their iambs proceed with the steadiness
Of a nonagenarian church pianist
Doing her damndest to fight the wedding march to a draw,
They are content, nay, proud of their work
Because babble rhymes with Scrabble
(Though they are not particularly proficient with the latter,
They have the former down to an art.)

III.

Let us not forget the Buk-zombies,
Those apostles of aphorism,
Most of whom speak of their departed deity
As if he were an old drinking buddy
(Never mind that most of them were two or three
Or perhaps not even a bad idea
In the back seat of some mom’s Buick
When he exited this mortal plane, stage left, even.)
One’s mind is boggled whilst considering
The expanse of the bar required to accommodate
Everyone who would like to
(Or worse, have claimed to)
Buy old Charlie a beer, not that he’d stand for a round.
They are a sullen horde, this lot,
Best dealt with by aiming for the base of the skull.

IV.
Ah, the confessionals, Lord have mercy upon their souls
(For they shall have none upon ours.)
They feel so many things so deeply
As such things have never been felt before
(They have not read their Sexton, their Snodgrass,
Their Lowell, their Pl--well, no,
They have all read their Plath.)
It is, from the moment they arise in the morning
Until such time they set aside their fears and let sleep take them,
All too much for them,
And they bravely face the days
Until such time they care bear to take action
And fling themselves from some convenient precipice.
We should, as a service to them and ourselves,
Ensure the soles of their shoes
Are sufficiently worn and slippery.

(I hate poets.
They annoy me deeply.)

The onion doesn't have layers
it has panels
nailed to its skin.

On occasions
he goes back to the warehouse
where he stores broken typewriters,
unfinished narratives of the campaign,
unexploded bombs.
sellotaped wires.

He audits his feelings
keeps them neatly arranged
on shelves and spreadsheets and

he examines them against the light
and is pleased with his investigations.

We are manufactured landscapes,
constructed through naming nouns –
we celebrate difference.
We are compelled into being one or the other,
like a nail or a hammer.

We reference nature through motherhood,
voluptuous in her national pride narrative,
her lips red pucker supple metaphors like her fertile ground,
her belly always pregnant
ready to plant desire in discourse.

We forget her industrial miscarriages,
her toxic tar-sulfur consumption,
her global half-bred garbage in words left unsaid,
her ***** laundry in patriarchal hands.

We forget her midwives,
her toiling underpaid workers
who support generations of waste
who spit up truth in plastic mouthfuls,
who regurgitate material narratives
to celebrate flesh in mythic wholeness.

When will the nation, earth and world step from its subject of motherly pedestal and name its androgynous existence, its forgotten lifelines?

All these stanzas look alike
they talk about the same things
with the same words, the same poem

written over and over again
like voices, whispers, copying each other
unable to feel and trust experience
differently, socialized for homogeneity

unified but dull, strong but obedient
their writing seemed the narratives
of machines unable to innovate

plagiarizing voices they believed were
their own, authentic, pure
their literary journals were a politics
of masters of arts and agendas of contests

like car commercials without a proper
enjoyment of speed, or our favorite writers
whose names we only knew because

they were the ones who died at the right time
while somebody was looking, reading them
but the bookstores didn’t know their
metaphors were weak, or their life’s work

was merely symbolic, that’s the thing isn’t it
poets are only symbols, as poems are only
fluff, paper, the labor of writers-in-residence

while the rest of the world are more
interested in serial killers and which stocks
might be worth getting into, and when to sell out
investing in words seemed silly to them

and, in my selected works there was nothing
of how to be a Poet Laureate or how to win prizes
exceptional or not, publication was left to amazon

state grants, fellowships, visiting writers
academics who never felt truly how to write
poetry at its heart was a colonization of artists
few could share what that meant, we were

the first illiterate generation, spending more time
with the internet than with books.