Screen Dump 343

Caedmon, the illiterate cowherd, learned to sing in a dream . . . The seductiveness of the transcendent impulse, yes? . . . The words sometimes coming . . . sometimes not . . . sometimes the wrong words . . . No watcher at the gate, they enter the arena and the ears of others . . . their attempt to hurdle the ho-hum foredoomed to failure . . . You steel yourself . . . against what? . . . conformity? . . . obsolescence? . . . Free-wheeling afterthoughts stampede pageviews . . . provide just enough fluidity to prime a cold winter's night . . . the moon taking on all comers . . . in all weight classes . . . The concept of an afterlife . . . so day-before-yesterday . . . Are you still there? . . . or have you retreated into the deep woods of derivation? . . . Day-trippers choke supermarkets' aisles . . . fall victim to the trumpet's dissonance . . . without the bells and whistles . . . without the enthusiasm . . . of post-coital anaerobics . . . All for naught? . . . If push comes to shove, applicants will be required to submit their soliloquies in triplicate with a Sharpie . . .

Gemma O'Brien, the "Sharpie" Lady

Screen Dump 342

Your last time out was played . . . in mime . . .
good will hunting à la if-he-can-she-can . . .

a disastrous hookup . . . where less was more . . .
and more was even less . . .

with you lost among ceiling tiles
while outside Stevens's snowman orchestrated

nothing that is not there and the nothing that is . . .
And you ask . . . Why "now" the drama? . . .

Wendy Bevan

Screen Dump 341

You're a liar!
          - Tilda Swinton in Young Adam (2003)

But the expectation trumps the whimsicality, yes? . . .
Of what? . . . sleeping with someone? . . .
Ring around the rosie . . . earwormed . . .
and we're all falling down . . . the Urban Dictionary
reminding us of the Black Death
and the monkish chime . . . blurring genres . . .
as effortlessly as the banality of domesticity . . .
But I can do this now, having done time as a footnote . . .
Forget the intrusion . . . there was none . . .
But what about posed pics? . . .
Aren't they filled with lies? . . .
What are you talking about? . . .
Welcome to The Age of Lies . . .
You're kidding . . .
I'm not kidding . . .
Casual lies à la Billy Joel?
No, not casual lies . . .
Again you capture the fancy, better, the fantasy
of many . . . following a hiatus . . . of how many years? . . .
The voice in this line is unrecognizable . . .
Savoring the rush . . .
The rush, yes . . . yes . . . it's all about the rush . . .
Aware of the seamlessness of thought and action . . .
the invisibility . . .
And now? . . .
Zero-out the counters . . . and proceed with the scene . . .
He/she will attempt a comeback . . . at an open mic . . .
But what about Thomas Wolfe? . . .
Didn't he host an open mic? . . .
I don't think so . . . he was too tall . . .
besides, I don't have time to phone home right now . . .
Then make time . . .
Make time? . . . whoa, the designated optimist
has elbowed his/her way into the room . . .
Deliver the lines as written, please . . .
Pedal to the masses . . . no doubt . . . wait . . .
I'm googling as fast as I can . . . and now my eyes close
as I enter the fifth of seven levels . . .

Tilda Swinton in Young Adam (2003)