Showing posts with label HUMOR. Show all posts
Showing posts with label HUMOR. Show all posts

Jul 12, 2014

Guns and Morons, plus Chase Twichell's "Stripped Car"


aka Peace and Wisdom Party
Thirty seconds of this video conveys plenty, but I’m a masochist and watched all four minutes. The film wants to be funny, and sometimes it may be, but I find it a troubling sequence too. When I caught myself smiling a few times, I didn’t like myself. So I wrote the snarky treatise below.

http://www.ijreview.com/2014/07/155132-hilarious-gun-fails-will-make-wonder-lost-cause-shoot-firearms/

What’s the moral of the story in the video, which is passed off as humor?

1.  Guns don’t shoot themselves. Unequivocally true.

2.  In spite of some delusions, people can’t fire bullets from their fingers or genitalia. Unequivocally true. 

Solutions: 

1.  Eliminate gun control for people who have never made a mistake of any kind.

2.  Hate
each other over the two unequivocal truths above.

3.  I'm pretty sure  there are 8 billion mountain tops on Planet Earth.  Give each human a mountain top and all the firearms he can carry, which will lead to all the ammo-orgasms he has time for. Or energy. And alone on a mountain top, that’s a lot of time. Food? With all that weaponry, if they can’t find enough to kill, fuck ‘em. Shelter? Ammo-orgasms will keep ‘em warm.

4.  Uh-oh. My research team isn't sure there are 8 billion mountain tops.

5.  Someone also asked about propagation of the species?  Uh-oh.

http://www.ijreview.com/2014/07/155132-hilarious-gun-fails-will-make-wonder-lost-cause-shoot-firearms/

Then I went to Poetry Foundation, typed “guns” in the search box, and was offered “Stripped Car” by Chase Twichell. I’ve liked her work before, so I read it, though it's a little longer than what I usually post here:


Notice white fuzz ball in nest
    I’m not sure every line needs to be there, but the style is breezy, and some of the images were poignant,

    so I stuck with it. Do you like the poem? Respect it? Do you have some favorite lines, images or ideas? How about a “sulking adolescent” . . . “with a silky little shadow-moustache/and a gun”? Or the play of fruit and gardens against the images of metal and violence?

http://www.poetryfoundation.org/poem/181522



Jun 16, 2014

Hannah Gamble's "Growing a Bear": Entertainment and Art


First a note on the photos: which of these women might be the poem's speaker? Now, on to the work itself.

In poetry, humor is such a tricky thing, a tightrope—veer left and you fall into superficiality or mean sarcasm or commercial slickness and pandering; veer right and you reveal an underbelly too dark for genuine levity--no belly laughs, no breeziness at cocktail parties, no appreciation of the absurdity of it all. It's all too grave for that, as Dostoevsky knew.

In my college years and into my twenties, I heard more than once that America’s only contributions to world literature were the short story as a genre and American humor. We were supposed to feel bad about that—inferior, provincial lightweights. Well, if those are our only contributions—and how can one make such a claim in the first place?—I say we’ve done pretty well, as I whisk dreary dust off my shirt and visor from long, long, dark, dark European tomes. Especially on the continent, none of the languages have a word for "concise."

So Hannah Gamble’s “Growing a Bear” interests me quite a bit. I hope no one disputes that it’s funny. But is it fluff? We’re back to The School of Accessibility and the constant question it presents: is the work mere entertainment or does it have enough heft to be labeled significant literature—enough insight into and commentary on big issues like the environment or social justice or simply being a lone human with human complexity? And is the work’s expression artful enough to make us take the piece seriously?


After reading “Growing a Bear” a few times, I’m not at all sure what the Bear is, but I think it's vaguely naughty and funny and grave. How would you pin it down? Or would you decline the invitation to pin it down?

And did you enjoy the poem?

Mar 16, 2014

MOTELS, BUGS, SLICES OF LIFE AND PIZZA, WORK

Server
In case you've come for a poem, here’s Detroit’s own Philip Levine on the subject of work, which seems relevant to motel dirt, as guest or as worker:

http://www.poets.org/viewmedia.php/prmMID/15319  

UFO Inspector



Kite Catcher

And Wind Catcher

But moving on to new topics . . .

In roaming on some internet travel sites, I’ve found a few entertaining details about motels in the nation’s major chains. Maybe I’ll just stay home, like the guy I know who carries sterilizing spray cans with him on the rare occasions when he travels and submits to the dangers of public lodging. He wipes the rooms clean, the way a cop show's CSI might.

I shouldn’t say aloud that I’ve never had experiences like his or those below. Then again, I wasn’t looking for germs. I wonder if that’s the secret: be willfully blind; bugs and human debris will always be with ye, but ye can choose whether and whither thy vision goest thither. If thine eye offend thee, pluck it out. Etc.

By the way, I’m more interested in the reviewers than the motels, so I’ve kept the original authors’ words, spelling and punctuation for authenticity, and I have not disclosed the identity of individual motels or chains—it would be unfair (and libelous?) to cast a shadow on a business because of a single review. Besides, it’s been over a year since I started this project, so I no longer recall names or places; I have plausible deniability, which I’ve always wanted more than love or money or a good crop.   

I'm limiting myself to two of these per post:

            1.  Breakfast was bad and found a very old slice of pepperoni stuck on curtain in room
                 and food crumbs under furniture and beds.
   
            2.  I use to be an housekeeper and maintnance person at this [motel]. People                            complaining about overbooks its not this hotels fault. It is corporates fault. The manager,      Harry, hes not the nicest guy in the world, but at times he can be very helpful.  It's not the biggest pool ever and cleaning isnt always done the fastest but what do you expect from a small town like this?
      
River Guardian


Protectors of All?







Jan 28, 2014

Mary Ruefle, "Why I Am Not a Good Kisser," a Comedy-Gravity Meatball



http://www.versedaily.org/2011/goodkisser.shtml

“Why I Am Not a Good Kisser”
is a Mary Ruefle romp in which we see her ample, quirky, speedy cerebellum and its thick book of information leavened by humor. Or is it two pages of humor—about our famous A.D.D., perhaps—deepened by scholarly details? In any case, it’s a pretty enjoyable example of trying not to take too seriously a really, really serious self.

If I started in on my favorite parts, gifts along the way, I might never stop. With a gun to my head, I’d probably opt for the little black dog and the rooster details.
Boat-Tailed Grackles
I do have two questions or reservations about the writing. Wouldn’t shorter lines increase the sense of romp and comedy? These often long lines, with no stanza breaks, create a sense of labor that might weigh down the frolicking, just a bit.


Secondly, we are taught—or we once were—that every word in a poem must be there, must be necessary and right, even if ambiguous. There’s no fat on poetry’s meat—or, once upon a time there wasn’t. With some of Ruefle’s details, I wonder how much they’d be missed if omitted (keep the rooster!). But there’s a mystery of rhythm and timing in poetry (and all writing) that might say success is success, don’t mess with it. And I’ll argue that “Why I Am Not a Good Kisser” is a successful feat indeed, less frivolous than most humor and less ponderous than most serious writing.       
The Anhinga Dries His Wings (and thinks deep thoughts)


By the way, I've now heard the poet introduced as Mary ROOF-ul, and like the ROOF-lee I offered last time, the introducer was well-qualified. What's in a name, anyway? Hey, somebody should write about that. 

Apr 16, 2011

Stephen Crane, "In the Desert": Halloween in April







In the Desert by Stephen Crane : The Poetry Foundation [poem]



I'm not much of a memorizer, but Stephen Crane's "In the Desert" is so packed with dynamite (and so short) that I got it down, somewhere back there in youth. Sometimes I used it on first dates. I thought it made me sound deep. Over time, a pattern emerged: no one who heard it on a first date wanted to go out again. Women. Go figure.

May 24, 2010

Elizabeth Bishop, "The Fish"




The video at the bottom is under three minutes and might make you smile (or wince).

In Bishop's poem, I like the overall pattern and direction, the movement toward the conclusion, but the whole seems somewhat overpacked with details. Could maybe 30% of these words be cut with no loss of power in the last line? Or, to appreciate the fish, do we need to be made aware of so many component parts?

The Fish by Elizabeth Bishop

http://www.youtube.com/watch?v=4UIpOUgQt-g&feature=related








* *

Sep 7, 2009

PIGGY-BACK JUNKYARDS, EARTHLY DELIGHTS


I just saw a middle-aged fat-cat-capitalist dawg driving down this leafy street. With his seat reclined, his right arm draped across the back of the passenger’s seat, his head tilted back as if to offer his chin to the gods, daring them to punch him . . . he had that familiar driving posture that proclaims, “I am somebody. Move over.”

I thought again about the facts of what we do when driving a car—piloting a few tons of metal, steering a weapon, mastering a robot.

Robots. In 2009 we already have foreign objects in our bodies: knees, hips, stents, metal plates, other people’s organs, mammals’ organs. What a lot of Self we are. Sometimes my Self weighs me down. But more often it’s all those other Selfs out there, wanting equal time.

Last Saturday in the hotel coffee shop, I once again met The Bacon Boys, my vegetarian breakfast group. Except for their fuddy-duddy New Cynicism about the astonishing will of the barnacle, his sexual strategies, and his design for survival (July 26, 2009), The Bacon Boys are pretty open-minded and well informed concerning science, so our conversations often drift to oddities of the human body, or geology, or the universe—a body trying to be as important as our own.

Saturday Oscar and Olivier chewed on dandelion stems and waited for their food. They are twins, slender red-heads, who at 42 could almost be our children. In fact, they are the children of M.I.T. physics profs who named them for Oscar Delaurentis and Laurence Olivier, in the hope that they’d abjure science and become something in the art world. Instead . . . well, we don’t know what they do, and we don’t press for answers.

You could say the twins contribute nothing, though inattentive silence is contribution of a kind. Slim Tim politely filibustered for their membership because his parents and theirs were close friends back in Cambridge, and how do you say no to Slim Tim?

Our founder and leader, Viggy, has called the twins our legacies. He’s also called them The Silencers—their blank stares can silence even Two-Stent Viggy, who, by his own admission is too ornery to have a healthy heart.

Last Saturday, he was serving up the latest info on computerized eyeballs. I envisioned hard-boiled eggs with miniature iPhones inserted in the dry yolks.

“I’m telling you, Banjo” said Viggy, “we’re just days away from body parts grown in the lab. Am I right, Tim?”

Slim Tim, who works in a pharmaceutical lab, had also heard about this organ business and was happy to agree. “Some day we’ll just stop in at Rite-Aid.”

“Why not?” said Viggy.

“In our lifetimes?” I asked.

“Why not?” said Viggy.

“A body-part garden,” I said. (I hadn’t slept well; I was cross). “Will tomatoes grow there too?"

Viggy said, "Is that your best shot, Fungus-Face?”

“Am not.”

“Are too.”

“Takes one to know one, bouncer off rubber, sticker on glue.”

“Moron.”

“Indefatigable narcissist.”

“Ontological nil. Unstrung banjo.”

“Plumber’s Helper—Wait! No! . . . Rotted Plumber’s Helper . . . Discarded oil can thingy.”

“You can’t think of the word, can you, you terminal zed. You can’t even come up with ‘dipstick.’ You are one skull full of air, boy.”

“Terminal zed is redundant.”

Slim Tim, having heard “fungus,” and wanting peace, started a narrative of his own about some spore that piggy-backs an ant and magically seizes the ant’s mind. The spore tells the ant where to go. The destination is a particular leaf 25 millimeters off the ground—precisely 25 millimeters. The plant is poison to the ant, yet he clings to it till his death in order to serve the spore that has somehow seized his mind and become his god.

After thinking about some kinds of religion, I thought of limousine drivers carrying CEOs toward their construction sites for new skyscrapers. The dirt and debris were full of bodies—ant cadavers. And Jimmy Hoffa.

I looked to Oscar and Olivier and said, “Hey guys. That ant? The limo?—What do you think—Lincoln or Mercedes?”

Blank stares. Viggy looked annoyed.

“Oscar,” I said, “how much of your body would you replace, in the name of survival?”

When you say “in the name of survival,” you know you sound deep, even if you’re talking to Oscar and Olivier. I paused for a moment, waiting to be absorbed.

Then I went on, looking at the twins, but speaking to Viggy and Tim—artful misdirection. “Let’s say the brain is sacrosanct—we know Viggy’s is. Especially compared to—oh, let's say a spleen. Without the brain, the robot named You keels over.” (That may or may not be true, given advances in computers. But they were letting me get away with it).

“Is every body part negotiable?” I went on. “In order to sidestep death, would you replace one fleshy item after another until you amounted to an original brain driving a piecemeal contraption down the avenue? Where’s the Self?”

I paused. I was getting into tender territory for Viggy. But I couldn’t stop. “Olivier, remember how Viggy said that wherever else your Self might be, it has to be in your brain? Well, you’ve got your brain, so what’s the problem?”

Olivier stared at me. Oscar squirted ketchup into his spoon.

“Oscar!” Viggy hissed. “This is a nice place! Behave.”

Oscar set the ketchup in the middle of the table. Olivier picked it up.

I said to everyone, but I suppose to Viggy in particuar, “You see yourself en route to copulation with that hot little Cookie Kindred, the blonde titanium floozy who’s being assembled just for you three miles down the road? Self claps its hands, says yummie.”

I looked up, expecting to be challenged. Nothing. Slim Tim put lemon in his coffee. The twins now chewed on their stems, which were now dry. Olivier dunked his stem in the ketchup on Oscar’s spoon.

Viggy said, “Oscar! You’re not in a cornield!”

I pressed on. “So your brain’s cradled in some metal palm thingy at the top of you—is that your head? Or just your top? Your apex, your zenith, your summit? It’s riding high up there. Would it feel the loss of anything important, once it’s accustomed to its new servants? Shiny metal and new leather sacs like little footballs? Your good old brain goes on giving orders—left, right, go, stop, go pee.”

Still nothing from the twins. Olivier was about to fall asleep with the dandelion stem in his nose. Oscar stared off in the way that sometimes made Viggy say, “Oscar, dammit, are you back to that virtual stalking thing you do? This is a nice place. I’m not gonna tell you again.”

Oscar’s eyes fell upon his napkin, and he fiddled with it. I'm pretty sure he was grinning, but with his face down, I wasn't sure.

“In this Old-Brain-New-Parts world," I went on, "where do you find your new Self? Or was it in your elbow all along? Would the You in you mourn the pleasures of your old six-pack bundle of youth?”

Long ago, Viggy had trained the silver-haired brow over his right eye to rise and curl into a snarl. Upon command. It stops adversaries in their tracks. The eyebrow was up. And it pointed at me, not the twins.

Yet I pressed on, a profile in courage. “Would robotified pleasures match the bliss of your apish raptures in days of old? Your primitive bliss? Your body a mobile, throbbing pack of hot
juice . . . .”

“Jeeeesus,” Viggy said. “Are you about finished?”

“I wasn’t . . . “

“Does anybody know what the hell Banjo’s talking about? Is there somebody here who agrees with Banjo that he’s some born-again poem. Oscar. . . ? Oscar!”

Slim Tim grinned. He liked that. He’s the nicest atheist you ever saw. He’s a good audience for Viggy.

Oscar and Olivier stared at their chewed stems, as if to wonder what had become of them, all chomped, dried and dented like that.

I was smelling defeat—or at least I was getting tired, which is the same thing. So I shifted gears. “Have you heard about the chimpanzee and the bonobo?”

“Banjo . . .” It was Slim Tim, a gentle voice, a voice that was a hand on the forearm. “Banjo, remember where the hotel’s washing machines are?”

“Yeah.”

“Banjo,” said Tim, “it’s time for a nap. Go down to the alcove by the washing machines. The thump-thump will put you to sleep.”

“Okee dokee,” I said. “Thump-thump good.”

I might have resisted if it were Viggy making me leave, but not Slim Tim. “But . . . Tim?” I said.

“Yes?”

“What do you think other breakfast clubs talk about?”




* *
End note: www.scientificamerican.com/article.cfm?id...zombie-ants -

* * *

Aug 10, 2009

THE NEW CRITICISM AND THE ANT FARM OF LIFE

As an all-round pile of virtue, I am completely honest about everything. So I’ve been getting militant about what we know, or think we know, or can know, or how we came to know it—or came to think we know it. We know very little; we inch forward. Yet others seem to think we can know so much we can play golf with God.

Among my several ongoing Herculean endeavors, I try to use strategies of literary criticism as a way to get at other problems, the solutions to which might prevent divorce, war and most human injustice.

I have breakfast buddies; one group of four meets every month or so, with the understanding that we have come together because we’ve been called upon to discuss timeless, epic matters, such as education, politics, and metaphysics—the usual suspects. From one perspective, these are merely more freshman dormitory ramblings. From another, better vantage point, however, it's clear that we should never pretend to have outgrown those concerns, for that is when we end up talking endlessly about golf, plumbing, brownie recipes, and babies’ bowel habits.

One Saturday morning the breakfast boys were speaking freely about the author’s life, character, and intentions during the composition of The Get-Down Dirty Frolick Papers. Turns out that Dickens—not Charles, but Big-Lew-Tiny Dickens (BLT to his breakfast pals)—underwent gall bladder surgery halfway through that novel’s composition. The vast majority of reviewers inferred, therefore, that Dickens’s thorough, precise, artistically rendered gore, splattered throughout the second half of his murder mystery, was the result of the author’s daily three-hour study of his own gallstones, which sat in a jar on the mantle, beside a shot glass with a cyst floating in formaldehyde—it had been removed three years earlier and is now widely accepted as the inspiration for Dickens’ contemporary classic, Chicken Fat Floats.

When I asked if they’d forgotten about the New Criticism, my friends stared at me. Puzzled, I gently reminded them of the New Criticism’s rejection of biography as a means to understanding literature. They stopped chewing. They raised their silverware as if to attack. Slim Tim developed a little spittle in the corner of his mouth.

These are smart guys, so their rage led me to wonder: am I the only one who still clings to The New Criticism as an approach to understanding poetry (I'd include all serious literature)—and through that, understanding what one can and cannot know about most things, from religious beliefs to magical popcorn.

The New Criticism was developed at Vanderbilt University in the 1920s and then at Kenyon College in Ohio. It remained in favor into the 1960s (Wikipedia). It still makes complete sense to me, but no one else, it seems.

The New Critics' thesis holds, modestly, it would seem, that readers and critics should look only at the words on the page to interpret a text. Serious readers are interested in the song, not the singer or the auditorium; leave the singer and his venue to the biographer, historian, or architect, not the simply good reader, whose subject is the song.

Stay tuned for more. Sleep well.

Aug 6, 2009

BROWN BEAUTY







From a Noah's Ark, a racket, a chattering frenzy, a veritable chaos, a donnybrook of sparrows . . .




















. . . Mister House Sparrow brings home the bacon to junior (or dudette--I'm happy to say I don't know the difference)--

Jul 26, 2009

Post-Modern Science-Lite

Music is a conversation.

Above . . . Barnacle Doug
Riffs to His Rock

A friend of mine, who knows what he’s talking about, suggests that science must be a conversation between a well-intentioned human investigator and nature, who will reply if asked the right questions in the right way. In that spirit, I offer the following, based on lay research and lay understanding.

The barnacle is a shell-like creature who attaches himself to a rock. When the seas get rough, the barnacle sends out a thread, like a spider web, which attaches him more firmly to his friend, the rock.

Because barnacles are stationary and fixed, they must mate with their closest neighbor. This is accomplished by having a strong and stretchable penis. After the mating season the penis is thrown away, and a new one develops the following year.

If adaptability and faith are major factors in determining which species will survive, surely the barnacle, with one of his other friends, the cockroach, will outlive humans by at least four eons.

Equally hard science, based on extensive research throughout Scandinavia, Tibet, and Wisconsin, has revealed no greater act of focus, strength or will to survive in animals, plants, or humans.

Philosophers and poets are gathering in Lithuania and West Virginia to study the chemistry of the barnacle thread and its relevance to love, both erotic and Platonic. Stay tuned.




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Jul 21, 2009

FINCHES AND THE MEANING OF LIFE


Okay, I’ve gone a couple of blogs without talk about birds, and you’ll yelp if I don’t keep you posted on finches. Sunday I bought two new net socks and another small feeder, the old kind that forces the bird to eat upside-down, which finches weirdly do.

Problem is, you see too much of their white rumps. What is the evolutionary advantage of a white rump, when the rest of you is electric yellow, a lit-up target for near-sighted cats?
Another factor about the upside down finch-prayer to gravity: they look a little dead, hanging there that-a-way.

Speaking of which, my window has felt the impact of two drunken pilot deaths in the last three weeks or so. I’m attributing that to teen or female drivers—because both little cadavers were olive, not yellow. (You thought you had me on misogyny charges, didn’t you?).

Here’s one more series of events. By far, the majority of my finches lately have been female (I thought). What’s up with that? Did the males go on bloody skirmishes against each other, concerning territory? What kind of irrational creature would do that to others of his species? Over a some air space? Over some dirt?

Then I half-remembered, and then confirmed in The Books, that juvenile finches look like the olive-ocher female, weenie or no weenie. So I’m apparently teaching a ton of finch teens to come back here, or never leave.

But shouldn't I then worry about inbreeding? And in a finch version of Deliverance, who would play the banjo?

Lovers' Lane