
to Hive being
welcome
What is Hive Being, and Why the Name?
You have likely heard talk of a hive mind, where one global mind finds more or less figurative expression in various local minds. Such talk is common enough in nature documentaries, especially ones concerning ants or bees, and in sci-fi programs. Take that notion, at least a loose version of it, and broaden its scope. That will be a decent first step in understanding the title I have chosen both for my Blog and for the first five-volume installment of my magnum opus Made For You and Me, a fragmentary collection of minimalist stanzas from 2016 to 2020.
In alignment with Spinoza (the 17th Century Rationalist to whom I devoted my doctoral studies), I view reality in its totality as a grand hive Being: all entities are but pulsating manifestations of the buckstopping fount of everything, an ultimate being we might call “God” or “Nature” (so long as, out of respect for the capital “G” and the capital “N,” we limit it neither to some anthropomorphic cloud father hurling lightning bolts nor to mere wilderness untouched by human smog). According to the hive-Being view (where reality is one lone superorganism, a monistic—and we might even say unividualist—conception I defend in both my creative and academic capacities), each non-foundational being (each being, that is, whose essence does not involve existence) is an utterly necessitated expression or eruption or exudation of this eternal source—each is, perhaps better put, a mode or manner of being, and so a focal point through which is disclosed, what classical theists sometimes call “being itself” (ipsum esse subsistens): the realness of the real, the being of whatever may be, the sheer activity of being, the very isness of whatever is. This Blog, which duplicates my Substack, throbs as but one among many literary unfurlings of this self-necessitated foundation, this supreme wellspring, of which we—like black holes and broken beliefs, like fractal ferns and flickering flames—are the inevitable stylings.
My Journey
I am an academic who found himself pressured into early retirement by the rising tides of cancel culture. The illiberal scourge of censoring, silencing, and shaming—although always with us throughout our evolution—reached a local peak around 2021. That was the turbulent year my creative pursuits, which the old left once encouraged as a healthy outlet for the stresses of a childhood steeped in poverty and illiteracy, drew the ire of the new safe-space left. A small cadre of self-proclaimed victims and their allies, several of whom continue to berate me years later under pseudonyms as see through as their sexual infatuation, sought to erase me and my heterodoxy. They found support from a wannabe-woke dean, covered in the grand inquisitor robes of our decadent modernity (full-body tattoos) and just itching to signal his commitment to protecting “vulnerable populations” from triggering material (even if just, as it was in my case, off-duty poems “unbecoming for someone calling himself a teacher”). Although I eventually won my due-process case with the help of The Foundation for Individual Rights and Expression, I slunk away from a college that turned its back on protecting freedom of expression and from an institution increasingly intolerant of intellectual diversity.
The wrecking ball to my too-comfy office in the windowless ivory tower came with a silver lining. From the ashes of my professional aspirations rose a phoenix of increased freedom to fulfill the literary calling I have pursued for decades. Reputation concerns never stopped me, even within academia’s sterile halls of conformity. Indeed, my unapologetic defiance, which has long baffled friends and family, no doubt chummed even safe waters—almost as if I were asking for it all along—until the cancel shiver grew too frenzied to hold back its blind thrashings. But now, now I piston the most forbidden territories of human thought with no longer even a twinge of conscience. The newfound freedom means extra time to hone my craft. When not assisting special-needs communities (a day job far more rewarding than freeway-flyer drudgeries), I pursue my literary mission with Dionysian fervor.
Call for Co-Conspirators
This space, my digital sanctuary, showcases the fruits of my mission. Think of my posts, even those linking to my publications, as works in progress. I want your input, unflinching brutality included. Each post begins with an invitation to action: “Let’s workshop this [draft about x, y, z].” Your contributions, whether through public comments or my contact page, help hammer scraps of ore into polished blades fit for magazine publication.
Your input is valuable, even if you are neither a writer nor a reader of literature—twin disciplines dying by the cyber nanosecond. Sometimes—even if at the risk of uttering banalities—an outsider’s fresh vantage can pierce the veils of convention to reveal what insiders miss. It often takes an outsider to make us even think to question our ingrained presuppositions and attitudes. I stand by the hygienic value of contagion. That is one reason I advocate so strongly for intellectual diversity and freedom of expression. And that is also one reason I was so harrowed by the anti-diversity swell of cancel culture in academia (an institution that should be the utmost caretaker of such values)—harrowed especially insofar as that swell masqueraded under the gaslighting guise of “diversity”).
You will witness the breathing evolution of my writings over time. To track these changes, I label each revision by round: “ROUND 2,” ROUND 3,” and so forth. Each piece undergoes continuous refinement based on your feedback and my own revisitations. Sometimes changes will mar the work. That is the risk of creative tinkering as a finite creature. I hope you will alert me to missteps. After many semesters of university writing workshops, one rule has impressed itself upon me: when someone senses a flaw, something almost always needs to change—even if, yes, the proposed solution misses the mark (which often it does). From a quick look into the archives, accessible here, you can see how much I have benefited from your feedback so far.
My Hope
Sharing drafts can be daunting. But showing you the ravaged and unperfumed real deal unfiltered by makeup (stuttering starts and falsities, awkward line breaks and clumsy word choices, grammatical errors and misspellings)—that not only makes my work more relatable, but helps me refine things through your input. I hope the unfiltered look at the raw process of fumbling, rather than just the polished product, also helps other writers develop their craft. Imperfect works often instruct more than perfect ones: whereas the perfect ones tend to have a grace by which they slip inside us without activating our scrutiny, the imperfect ones—especially the near perfect ones—show us glaringly what not to do.
People laugh at me, seeing—in my tilting at the windmills of literary excellence—a Don Quixote clunking around in Arthurian armor in a post-knight era. I am not naïve. I am well aware of the diminishing ability to read, let alone well: slowly and deeply, with gratitude. I am also aware that my style, which often nests subpoints within larger points, never waters down virtuosity for the sake of mass appeal. I watch readers stumble over my sentences, unable to unlock even just the music of the envelope let alone the semantic meat within, which—given my tendency to flashlight through the darker facets of human nature (the addicts, the miscreants, the abusers among us)—only adds an additional alienating layer of difficulty). Beholding these depressive scenes of even supportive family members getting bucked off my syntactic bronco makes me feel like a dinosaur who should get a hint and, if not succumb to the brain rot of skibidi-toilet speak, just hang himself already. Even though the decline in linguistic background and grammatical voltage makes my compositions seem quixotic in a world binging Netflix and TikTok, I persist—raging against the dying of the light—by some internal compulsion to celebrate the richness of language and thought.
My hope is that, despite social media’s unparalleled power to farm our attention, people never forget the unique power of writing. Beyond unveiling hypocrisy, teasing out complex implications, and detailing the commonalities between even the most alien phenomena, writing offers something we need today—trapped in agoraphobic cyber bubbles only thickened by the Lyme dangers of forests and the COVID dangers of cities—perhaps more than ever. Granting us rich access to the first-person perspectives of others (to how things feel to them), writing serves as one of humanity’s best tools for combating loneliness. It allows us to linger, broadly and deeply and at high resolution, within the inner lives of others in a way that other arts can only suggest.
What to Expect
My work spans a broad spectrum: from metaphysical discourses on free will and determinism and the ontology of holes to the ephemera of western culture (whether the childhood impacts of the hypersexual mono-image of black woman as squirting twerkers or Terrence Howard’s sham revolution of mathematics). Some tight and minimal, others free-flowing sprawls; some heady and abstract, others emotional and imagistic—my inkwell musings, which often blend scholarly rigor with a dark humor from both high and low culture, aim to capture the visceral intensity of our personal and social and ultimately existential predicaments.
By no means can I deny that drug abuse, sexual assault, and the tales of the broken and the damned loom large in the tag cloud of my work. My writing will never be a paradise of easy truths and comforting lies. It will challenge you, provoke you, and at times even repulse you. I offer no apologies for the monsters I unleash. They are as much a part of us, at long root scared rodent mammals scurrying in the shadows of dinosaurs, as our noblest aspirations.
But make no mistake. It is not all downer darkness. The archives are my receipts. You will find pieces exploring the pursuit of authenticity in a media-saturated world, the search for meaning in an indifferent cosmos, and the celebration of beauty in both the sublime and the profane. I locate much of my inspiration, in fact, in novelists like Dostoevsky and poets like Ted Kooser—writers unafraid to pursue moral agendas or risk Hallmark sentimentality in an age that often sneers at sincerity.
Be they satirical dissections of modern social dynamics or poignant poems about addiction or academic articles on moral responsibility, my goal is to provoke thought, evoke emotion, and foster meaningful dialogue. Fear has not and will not stop me from challenging humanity’s fundamental taboos (like bestiality and cannibalism) or self-reflecting into the dark chaos of the subconscious, even if that means exposing the Jungian shadows—the inner Goebbels—lurking within us all!
Expect posts each day, no day missed. Donations are welcome, but I impose no paywall: it feels wrong to charge for art, especially given our date with obliteration. Feel free to explore what amounts to, at the time of writing this, close to a thousand pieces of poetry and prose here. That should give you a sense of what awaits.
Join me—specula holstered—on this literary odyssey into the public and private nooks of the hive Being. Let us navigate the labyrinth of creation together, confronting our demons and even slaying our darlings if we must. Let us dance on the razor’s edge between the sublime and the profane in pursuit of an elusive literary perfection never to be confused—as it has been confused in our declining civilization—with the pursuit of popularity or likeability over truth.
tag cloud
- poetry
- literature
- literature community
- poem
- literary
- American literature
- writing
- creative writing
- poetry community
- Michael Istvan
- Istvan
- perception
- defiance
- suffering
- existential poetry
- dissociative
- poet
- existential
- healing
- human
- sex
- adolescence
- power
- art
- artist
- mortality
- evolution
- campus warrior
- God
- death
- darwin
- Nietzsche
- substance abuse
- sensual
- Earth
- resilience
- love
- hardship
- anxiety
- Life affirming
- parenthood
- meditation
- crack
- sexuality
- murder
- prison
- parenting
- disease
- love letters
- vines
- christianity
- rape
- junkies
- religion
- faith
- hoodlum
- teen
- worship
- thugs
- Biggie
- islam
- hypocrisy
- muslims
- babies
- psychoanalysis
- pound town
- feet
- baby feet
- woke
- taboo
- care
- cops
- abuse
- olympics
- blm
- horse
- dread
- dysmorphia
- homosexual
- gymnastics
- poverty
- mental health
- addiction
- repression
- hypermasculine
- teacher
- poison
- transgressive
- social justice warrior
- fatherhood
- father
- suicide
- drugs
- philosophy
- plastic surgery
- music
- safe space
- artistry
- asian
- handjob
Posts

Istvan Academic BIO FAQ
The pursuit of becoming a professor in philosophy, as described in the provided academic biography, is a narrative that intertwines personal struggle, intellectual curiosity, and a deep commitment to the search for truth. The author's journey is marked by an early and profound engagement with existential questions, driven not by formal education or traditional mentorship but by a personal quest for understanding amidst challenging circumstances.
From an early age, the author was captivated by the profound questions that touch upon the essence of human existence. This intellectual curiosity was not sparked by a serendipitous encounter with a philosophical text or a mentor but rather emerged from the author's introspective nature and the harsh realities of their environment. Growing up in a community where academic pursuits were foreign and survival often took precedence, the author's early life was characterized by a sense of alienation and a relentless pursuit of understanding.
The author's narrative reveals a profound dissatisfaction with the conventional narratives and imaginative games of childhood, leading to a deeper engagement with philosophical inquiry. This early introspection, combined with an acute awareness of the emptiness of societal norms, laid the groundwork for a lifelong commitment to exploring the fundamental questions of existence. The author's journey into academia was not a straightforward path but rather a pilgrimage marked by personal struggle and intellectual discovery.
In high school and later in undergraduate studies, the author found glimpses of philosophical inquiry in literature and other academic disciplines. However, it was not until college that the author formally encountered philosophy, which offered a structured way to explore the deep questions that had always intrigued them. This formal introduction to philosophy provided the author with the tools to study cosmic conundrums head-on, without the crutch of plot and character found in literature.
The author's academic journey, including earning degrees in Philosophy and English, and later an MA in Philosophy and Creative Writing, reflects a balance between continental and analytic philosophical traditions. This diverse educational background enabled the author to approach philosophical questions from multiple perspectives, blending rigorous argumentation with a poetic and imaginative exploration of reality.
Throughout their academic career, the author grappled with the central problems of philosophy, focusing particularly on metaphysical questions about God and free will. The author's work is characterized by a commitment to logical rigor and an aversion to rhetorical sleight-of-hand, reflecting a deep-seated belief in the principle of sufficient reason. This philosophical orientation, rooted in the rationalist tradition of Spinoza and Nietzsche, underpins the author's approach to intellectual inquiry and teaching.
Despite the challenges of balancing teaching, research, and personal life, the author remained dedicated to the pursuit of philosophical truth. The narrative reveals a profound sense of mission, driven by the belief that philosophical inquiry is essential to understanding the human condition and addressing contemporary societal issues. The author's commitment to philosophy is portrayed as a relentless quest for understanding, driven by an insatiable curiosity and a desire to challenge conventional thinking.
In conclusion, the provided academic biography offers a rich and nuanced portrait of a philosopher's journey. It highlights the interplay between personal struggle and intellectual curiosity, revealing how the author's early experiences and deep-seated philosophical questions shaped their academic career. The narrative underscores the importance of philosophy as a lifelong endeavor, characterized by a relentless pursuit of truth and a commitment to exploring the fundamental questions of existence.

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 32)
"Squat-crapping on the fanned-out covers of outdated Time at the doctor’s office," a selection from Michael Anthony Istvan Jr.'s "Made for You and Me 2: hive Being (Stanzas 2017—part 31)," continues the poet's exploration of contemporary existentialism and societal critiques through fragmented, vivid imagery and darkly humorous vignettes. This section encapsulates a mosaic of human experience, juxtaposing the mundane with the absurd, and the sacred with the profane, to create a disjointed yet profound commentary on modern life.
Istvan’s poem opens with the stark image of "squat-crapping on the fanned-out covers of outdated Time at the doctor’s office," setting a tone of irreverence and decay. This visceral image is mirrored later by "ball-dangling defecation on the chemo center’s magazine table of polite fictions," reinforcing a sense of bodily degradation in spaces meant for healing. These images challenge the reader to confront the raw, unfiltered aspects of human existence that are often sanitized in polite society.
The poet questions the efficacy of collective prayer with "does God better hear a prayer when launched from an entire parish?" This line prompts reflection on the nature of faith and communal belief, juxtaposed with the chaos and fragmentation depicted in other parts of the poem. The imagery of "a flash unbuckle blasts diarrhea at the waiting-room bead maze, children slack jawed" further underscores the juxtaposition between innocence and grotesque reality.
Themes of memory and loss permeate the poem, as seen in "realizing that you are starting to forget what she looked like" and "reading the personal anchors she left behind— / lotion, a brush full of tangles—not as snakeskin, / but as promises that she will come back home." These lines convey the poignancy of holding onto memories and the personal items of loved ones, evoking a deep sense of longing and the passage of time.
The poem also delves into philosophical and psychological musings, such as "it is question begging to say that when the materialist reduces Susan’s pain— / reduces it not just to anybody’s complex of neurophysiology but to Susan’s— / he fails to capture the qualia of her pain, the first-person what-it-is-like-for-her." This reflection on the nature of pain and subjective experience challenges materialist perspectives and invites readers to consider the limitations of empirical understanding.
Istvan continues to weave together disparate elements of modern life, from the absurdity of "motorcycle club patches, and the process of sewing them on" to the critique of consumerism in "Gucci bags over homeless legs." These images serve as commentary on identity, social status, and the often superficial ways we define ourselves and others.
The poem also touches on themes of vulnerability and exploitation, with lines like "not exploiting her vulnerability—his aikido style of exploitation" and "bared-throat defenselessness is itself a defense, / ironclad, around those whose honor (or desire / to signal honor) blocks them from exploiting it." These observations highlight the complex dynamics of power and protection in human relationships.
In "bits of steel from the fallen towers given out as gifts," Istvan reflects on the commodification of tragedy and the ways in which we memorialize and commercialize collective trauma. This theme is echoed in "coffins afloat down city streets," a haunting image that speaks to the pervasive presence of death and the ways it infiltrates everyday life.
Through "Squat-crapping on the fanned-out covers of outdated Time at the doctor’s office," Istvan masterfully captures the fragmented, often contradictory nature of contemporary existence. His use of stark, evocative imagery and philosophical reflections invites readers to engage deeply with the complexities of modern life, confronting both its absurdities and its profound moments of human experience.
existentialism, contemporary poetry, Michael Anthony Istvan Jr., modern life critique, vivid imagery, fragmented narrative, bodily degradation, communal faith, memory and loss, subjective experience, materialism critique, social commentary, vulnerability and exploitation, commodification of tragedy, human experience, philosophical reflections.

The Jerkiest Waltzes Still Follow Protocol?
Michael Anthony Istvan Jr.'s poem "The Jerkiest Waltzes Still Follow Protocol" critiques the bureaucratic and impersonal nature of institutional support systems. Through vivid imagery and metaphor, Istvan questions the authenticity of roles typically seen as societal lifelines, such as teachers, nurses, and priests. These figures, described as "sanctioned lifelines," appear overly regulated and detached from genuine human connection, encapsulated in the phrase "coiled in red tape."
Istvan employs the metaphor of these roles as "scripted NPCs" to emphasize their lack of spontaneity and genuine interaction. Non-playable characters (NPCs) in video games follow predetermined scripts, and by likening societal lifelines to NPCs, Istvan underscores the mechanical and impersonal nature of these roles. This comparison highlights the systemic issues within these institutions, suggesting that the individuals within them are constrained by protocols that strip away their authenticity and ability to provide real support.
The poem delves deeper into the human condition, suggesting that this scripted existence is a universal plight. The lines "too much maybe / like all of us flung, / full of encoded drives, / into this game" reflect a deterministic view of life, where individuals operate within the confines of pre-existing conditions and societal expectations. This perspective aligns with Istvan's broader philosophical themes, exploring the tension between free will and determinism.
The concluding lines emphasize the personal impact of this institutional detachment. The inability of these lifelines to serve as "authentic / beacons to turn to" leaves individuals, especially those in need of support, without reliable sources of guidance and comfort. Istvan's poem ultimately calls for a more genuine and empathetic approach to roles that are meant to provide care and support, challenging the reader to reflect on the limitations imposed by rigid structures and the need for authentic human connection.
Keywords:
Michael Anthony Istvan Jr., institutional critique, societal lifelines, teachers, nurses, priests, scripted NPCs, bureaucratic detachment, human connection, deterministic existence, philosophical poetry, critique of institutions, empathy, authentic support, poetry analysis.

Sims School Bus in the Tsunami
"Sims School Bus in the Tsunami" is a concise yet profound poem that delves into existential themes of suffering, resilience, and the human capacity for adaptation in the face of overwhelming adversity. Through its stark imagery and philosophical undertones, the poem captures a poignant reflection on the nature of existence and the relentless challenges posed by the universe.
The poem opens with an assertion about the cosmos, suggesting it "insinuates malignant design." This phrase implies a universe that often appears hostile or indifferent to human suffering, evoking a sense of malevolent intent behind the random chaos of life. The reference to a "dental-drilling demiurge" further emphasizes this idea, painting a picture of a creator or force that is both painful and uncaring, akin to the discomfort and dread associated with a relentless dental drill.
In contrast to this cosmic indifference, the poem introduces a "Promethean knack" within humans—a reference to Prometheus, the mythological figure who defied the gods to bring fire (and thus knowledge and progress) to humanity. This symbolizes the human spirit's tenacity and ingenuity, its ability to adapt and find new baselines of normalcy even as suffering intensifies. The metaphor of "frogs in water slowly heated" vividly illustrates this gradual adaptation to worsening conditions, highlighting how humans often acclimate to pain and distress until it becomes unbearable.
The poem's culmination in the line "until death obliterates us / into untorturable smithereens" brings a stark conclusion to the meditation on suffering and resilience. Here, death is portrayed not merely as an end but as a release from the capacity to be tortured—an obliteration into "smithereens" that cannot be tormented any further. This final image offers a bleak yet perhaps comforting resolution, suggesting that in death, the relentless cycle of suffering ceases.
"Sims School Bus in the Tsunami" employs its compact form to deliver a powerful exploration of existential angst, the resilience of the human spirit, and the ultimate release from suffering. The poem's use of mythological and everyday imagery juxtaposes the grandeur of human defiance with the mundane reality of enduring pain, inviting readers to ponder the profound complexities of life and death.

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 31)
In "Kudzu Vines of Cult Indoctrination," a segment from the larger mosaic poem "MADE FOR YOU AND ME 2: hive Being (Stanzas 2017—part 31)," the poet navigates a labyrinth of modern existential dilemmas and societal critiques. This passage encapsulates the fragmentation and complexity of contemporary life through a series of vivid, often unsettling images that provoke reflection on themes of identity, societal norms, and the human condition.
The opening metaphor of "kudzu vines of cult indoctrination strangling gardens of parental investment" sets the tone for the poem. Kudzu, an invasive species known for its rapid and uncontrollable spread, symbolizes the pervasive and destructive nature of cult-like ideologies. These ideologies suffocate the carefully nurtured values and investments of parents, illustrating a struggle between individual upbringing and overpowering external influences. This metaphor resonates with the anxiety of losing control over one's cultural and moral legacy to more aggressive, external forces.
The following line, "reviving someone only to beat the shit out of them," presents a stark and brutal image. This line conveys a sense of cyclical violence and futility, highlighting the cruelty of giving life only to inflict pain. It reflects a deeper commentary on societal practices that ostensibly aim to help or heal but end up perpetuating harm.
"The furry pause between teen identities seems more pregnant than ever" captures the liminality and turbulence of adolescence. The "furry pause" suggests a moment of softness and uncertainty, a transitional phase laden with potential and anxiety. This period is described as "pregnant," emphasizing its significance and the myriad possibilities it holds for personal growth and identity formation.
"Toes curled away from the cold tile of dawn footsteps" evokes a visceral reaction to discomfort and fear. The image of curling toes in response to cold tiles at dawn suggests a reluctance to face the harsh realities of the new day, symbolizing a broader hesitation to confront uncomfortable truths or challenges.
The poem continues with "wondering whether you were liked because of your race or in spite of it," touching on the complex and often painful considerations of racial identity and acceptance. This line underscores the internal conflict and self-doubt experienced by individuals navigating racially charged environments, where acceptance may be conditional or superficial.
"Illegal to eat a swan—nasty, ornery, source of coronation down—in a land of famine" juxtaposes luxury and necessity, highlighting societal contradictions. The swan, a symbol of beauty and nobility, is protected even in times of extreme scarcity, suggesting misplaced priorities and the absurdities of legal and social norms.
The passage also delves into the dynamics of heroism and resistance with "struggling, real hard, to resist the fatalistic tug of his groomer-camp-counselor look." This line portrays the inner battle against predestined roles or manipulative influences, emphasizing the effort required to maintain autonomy and resist external pressures.
"Dramatic dying, even if tamer than grenade-leaping heroism (even if no more than shunning hospice’s morphined stupor), is—like free-range kids popping wheelies on knee-bloody bikes beyond screens—safeguarded, for now, by the grubby poor" contrasts different forms of valor and the socio-economic factors that preserve certain freedoms. It suggests that genuine, everyday acts of defiance and resilience are often preserved by those living on society's margins.
The poem critiques superficial judgments with "criticized for having subjects too posed even though poses reveal something about them." It acknowledges the value in seemingly artificial presentations, suggesting that poses can convey deeper truths about individuals.
Through lines like "imagine if we did the NBA like we do now our colleges: Team USA competitiveness plunging—China’s prayers answered—as we chase the jungle’s standard of diversity," the poem satirizes contemporary approaches to diversity and inclusion, questioning their impact on merit and excellence.
The final stanzas delve into personal and societal decay, with images of "prison hospice," "cursory editing of old work so as to get to new work," and "the urge to sew together identical twins." These lines evoke a sense of deterioration and the desperate, often absurd attempts to find meaning or connection in a fragmented world.

Cram Session
“Cram Session" delves into the complex dynamics of online interactions, personal insecurities, and the pressures of contemporary social engagement. The poem offers a brief yet incisive glimpse into the protagonist's mental and emotional state as he grapples with his intention to connect with a digital acquaintance under the veil of secrecy from his spouse.
The title "Cram Session" sets the tone, suggesting a hurried, pressured attempt to absorb or perform, much like a student preparing last-minute for an exam. This metaphor extends to the protagonist's plan to cold call his DM (direct message) pal, implying a rushed and somewhat desperate attempt to establish a connection or to fulfill a social obligation.
The protagonist's decision to call while his wife showers highlights a clandestine nature to his actions. This secrecy adds a layer of tension and guilt, suggesting that his motivations might not be entirely pure or that he fears judgment from his spouse. The act of "cold calling" someone he knows only through digital interactions underscores the impersonal and awkward nature of such connections, emphasizing the artificiality and uncertainty inherent in online relationships.
The poem's focus on the protagonist's intention "just to praise her brave tweet" brings forth the theme of social validation. In the age of social media, where affirmations and likes often substitute for meaningful interactions, the protagonist's desire to praise the tweet can be seen as an attempt to gain favor or to participate in the performative aspect of digital culture. This desire to praise, however, is undercut by his inability to recall the specific content of the tweet, exposing the superficiality of his engagement. He remembers it as "brave" and "controversial," but these descriptors are vague and reveal more about the social currency of controversy and bravery than about the actual substance of the tweet.
The protagonist's anxiety is further amplified by his "what-if worries of pressure to spell out the praise." This line captures the fear of being exposed as insincere or uninformed. The pressure to articulate specific praise highlights the fragility of online interactions, where one's value and sincerity are constantly scrutinized. The protagonist's realization that he cannot remember her point "beyond it being controversial" underscores the performative nature of his praise. It suggests that what matters in digital interactions is not the depth of understanding or genuine engagement, but rather the adherence to social norms of validation and support.
The poem subtly critiques the performative aspects of social media, where interactions are often reduced to superficial affirmations and where controversy itself becomes a marker of value. The protagonist's internal struggle and the resulting inarticulateness reflect a broader societal issue: the challenge of maintaining genuine connections and meaningful discourse in an increasingly digital and performative world.
online interactions, social media critique, personal insecurities, digital relationships, performative praise, social validation, superficial engagement, contemporary social dynamics, mental and emotional state, secrecy, artificial connections, meaningful discourse.

Acid Bath of Market Forces
"Acid Bath of Market Forces" presents a sharp critique of the commercialization of educational and cultural institutions. Through a succinct and pointed critique, the poem addresses the ways in which market-driven values increasingly overshadow qualities such as character and integrity.
The title "Acid Bath of Market Forces" suggests a corrosive impact of economic imperatives on various societal structures, notably education and media. The metaphor of an acid bath implies a destructive process that erodes core values, leaving behind a superficial veneer.
The poem opens with the image of "sunset shadow of optics over character," which evokes a sense of the fading or obscuring of true character by the overpowering influence of appearance and perception. This shadow represents the creeping influence of market forces on institutions traditionally valued for their intrinsic qualities rather than their external appeal.
The poem's reference to "college" and "Disney" establishes a contrast between educational institutions and popular media. Both are presented as being affected by market forces, though in different ways. The notion that Disney's reboots are driven by "populist profit" indicates a prioritization of financial gain over artistic or educational integrity. The mention of "teachers chosen for color" like "Cinderella for curves" is a direct critique of tokenism and the superficial selection criteria that prioritize appearance over competence and ethical standards.
The phrase "how that thang squirt, how it smell" adds a layer of satirical commentary, suggesting a further descent into commodification and objectification. It implies that future selections might prioritize even more superficial attributes or aspects that cater to market trends rather than genuine qualifications or contributions.
The poem's use of contrasting images—such as the idealized character of Cinderella and the practical, merit-based role of teachers—serves to highlight the disparity between appearance and substance. By juxtaposing the superficial attributes celebrated in commercial media with the deeper values traditionally associated with educational institutions, the poem underscores the detrimental effects of market forces on these fields.
Overall, "Acid Bath of Market Forces" offers a critique of how economic considerations increasingly dictate the standards by which individuals and institutions are evaluated. It calls attention to the erosion of integrity and the growing emphasis on market-driven, superficial criteria at the expense of more meaningful values.
Acid Bath of Market Forces poem, commercialization critique, market-driven values, educational integrity, media commodification, tokenism critique, Disney reboots, superficial selection criteria, economic imperatives, character versus appearance, educational institutions, media influence, cultural commodification.

Unagi Nigiri
"Unagi Nigiri," dedicated to Eugenio Montale, draws upon the magnetic allure of the eel to explore themes of seduction, resilience, and kinship. The poem depicts the eel's journey from the Baltic Sea to the Adriatic, symbolizing a profound connection to life, nature, and the cyclical process of creation.
The poem opens with the irresistible appeal of the eel, juxtaposing our busy denial of death with the eel's seductive power. It charts the eel's passage through various waters, highlighting its vigorous and almost supernatural strength as it navigates seas, estuaries, rivers, and creeks. This image of the eel as a powerful, unrelenting force underscores its role as a symbol of vitality and resilience.
As light from a distant cosmic furnace refracts off chestnuts, it pierces wells and ditches, revealing the eel within the stagnant waters. This light not only uncovers the eel but also agitates it, driving it to continue its journey. The light and the eel's reaction to it symbolize enlightenment and the restless drive for life and renewal.
The eel's movement towards the Adriatic is described as being driven by an intrinsic, almost linguistic force, elevating it to a symbolic status. It becomes a torch that guides and a whip that goads, embodying an Earth-affirming love that shepherds the gullies and dry beds back to a fertile paradise of procreation. This transformation into a symbol of love and renewal is a powerful affirmation of life, even in the face of desolation.
Rejecting the notion of a heavenly paradise, the eel embodies a spirit that seeks life in the most barren places. It dismisses the idea of transcendence in favor of a cyclical, earthly renewal, asserting that new beginnings arise from what seems burnt and lifeless. This rejection of traditional notions of heaven in favor of a more immediate, tangible rebirth highlights the eel's role as a symbol of persistent vitality and hope.
The poem concludes by drawing a deep kinship between the eel and the human experience. The eel's presence in our lives compels us to recognize it as a kindred spirit. This connection is mirrored in the image of a precious iris twinned in hair and eyes, symbolizing beauty and life amidst the struggles of young men mired in metaphorical mud. The eel, as a blood sister, represents a deep, intrinsic bond that keeps us vivacious and connected to the cycle of life.
In "Unagi Nigiri," the eel's journey and its symbolic transformations highlight themes of seduction, resilience, and kinship. The poem affirms the power of life and renewal, emphasizing our connection to the natural world and the enduring spirit of creation.

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 30)
Michael Anthony Istvan Jr.'s "Made for You and Me 2017" weaves together fragments that capture the stark realities of human existence, exploring themes of death, love, memory, and societal change. This sequence of poetic vignettes provides a multifaceted look at the struggles and intricacies of contemporary life, offering deep reflections through brief, potent lines.
The opening phrase "depression tartar" conjures an image of persistent, uncleanable residue, symbolizing the lingering, often unnoticed effects of depression. This imagery sets a somber tone, echoed in the subsequent vignette about staying "behind the camera in order not to participate," which speaks to a desire to avoid engaging directly with life, a theme common in modern existential angst.
The line "your former F-student, your nurse as you battle to live" suggests the circular nature of life and the unexpected roles people come to play in each other's lives. This theme of reversal and interconnectedness is poignant, hinting at redemption and the unforeseen dependencies that shape our existence.
Avoiding cliché while seeking beauty is a recurring struggle in art and life, as captured by "avoiding cliché at the expense of beauty." It highlights the tension between originality and the inherent appeal of familiar, beautiful things. Similarly, "the secret guilt of medical professionals" unveils the hidden emotional burdens carried by those in caregiving professions, who often grapple with their limitations and the impact of their work on human lives.
The vignette about using "comedy to defuse an attack and uplift the dying" underscores the power of humor as a coping mechanism and a source of comfort amidst suffering. This is a reminder of the multifaceted role comedy plays in human resilience.
"Startled to find him looking so different than he had in life" touches on the shock of encountering death, where the physical transformation underscores the finality of life and the disconnect between memory and reality. The ongoing visit to a grave, as described, reflects the enduring nature of love and remembrance, even when it seems no one else cares.
The complexity of human interaction is captured in the vignette about laughter and the fear of missing a joke, illustrating social anxiety and the delicate dance of fitting in. The transition from a heartbeat to a "heart tick—one too loud in bed" evokes the intrusive nature of health issues, disrupting the intimacy of sleep and the comfort of silence.
Watching a loved one sleep while contemplating potential heartbreak speaks to the vulnerability inherent in love, where deep affection is always shadowed by the fear of loss. This idea of impending loss permeates the imagery of "clawing at earth" against the inevitable pull of graves, symbolizing the human struggle against mortality.
The sequence also critiques societal norms and the superficiality of achievements, as seen in "no nest eggs under our diplomas," which juxtaposes the ephemeral nature of academic success against the lasting impact of high-school sports feats. The cyclical nature of moving and memory is poignantly captured in "every U-Haul move exhumes a mess of memories," a reflection on how physical dislocation often triggers emotional recollection.
Daily realities, like "bath-towel scarves" and "layers poking out from flannel cuffs," ground the poem in the tactile, mundane aspects of life, while more intense moments, such as being "punched around by your spouse the night before the start of a new job," reveal the darker undercurrents of personal relationships.
The fear of red lights in certain neighborhoods speaks to the constant threat of violence and the socio-economic divides that create pockets of insecurity. The vignette about love not turning out well for many underscores the disillusionment that accompanies failed relationships, despite initial optimism.
The reconciliation attempts with old friends, who have already forgiven, illustrate the passage of time and the differing paces at which people move on from past hurts. This theme of reconnection is echoed in the scene where "wisps of snow enter with the booted man," blending the cold outside world with the warmth of human interaction.
The image of women balancing bundles on their heads while enlivening their work with competition reveals the resilience and ingenuity of people in the face of monotonous tasks. This is contrasted with the mechanical nature of "drum-machine music," reflecting a societal shift towards automation and the loss of human nuance.
Finally, the poem anticipates a dystopian future where political outrage leads to severe consequences, including the suppression of art and free expression. This chilling prediction underscores the fragility of civil liberties in times of societal upheaval.
Michael Anthony Istvan Jr., Made for You and Me 2017, contemporary poetry, existential angst, societal critique, human resilience, memory, love, mortality, human interaction, poetic imagery, societal change, interpersonal relationships, redemption, humor in suffering, fragility of civil liberties.

Buds Desperate to Be Pried the Fuck Open
"Buds Desperate to Be Pried the Fuck Open" is a powerful critique of contemporary culture's fixation on explicit and violent sexual themes, underscoring the pervasive influence of media and celebrities on youth. The poem delves into the negative aspects of what it terms the "anal-Perc beat-it-up monomania," a phrase that captures the aggressive, singular focus on violent sexuality that permeates much of today's popular culture. This obsession, reinforced by idols starring in Amazon ads and other mainstream platforms, is portrayed as distorting the natural development of young minds, pushing them toward premature and unhealthy sexual experiences.
The poem's title, "Buds Desperate to Be Pried the Fuck Open," evokes a forceful and unnatural acceleration of sexual maturity. The metaphor of buds, which should naturally open in their own time, being pried open suggests a violent disruption of organic growth. This imagery is mirrored in the explicit content promoted by media figures, which "kinks kids like rape," indicating a severe and harmful distortion of their sexual development.
One of the poem's central paradoxes is that this cultural obsession might paradoxically accelerate the onset of sexual maturity, plunging the lusting age. This is a complex and troubling notion, suggesting that while explicit media content is intended to be titillating and appealing, it might also hasten sexual awareness and activity among young people. The poem questions whether this is a deliberate consequence of such content or an unintended byproduct of a society increasingly desensitized to explicit material.
The reference to the ban on BPA (Bisphenol A) adds another layer of complexity to the poem. BPA, a chemical found in many plastics, has been linked to hormonal changes and early puberty. By mentioning BPA in the context of a ban on "titty-blooming and pussy-juicing," the poem hints at the interplay between environmental factors and cultural influences in shaping sexual development. This ban might curb or amplify the effects of explicit content, complicating the straightforward narrative of cultural corruption.
The poem concludes with a stark and explicit quotation from Doja Cat: "Spank me, slap me, choke me, bite me... / Give a fuck bout what your wifey's sayin... / I just want to fuck all night." These lyrics encapsulate the aggressive and explicit nature of the content shaping young minds today, serving as a vivid example of the messages being disseminated and their potential impacts. The use of such direct and provocative language in popular music underscores the poem's urgent call to scrutinize the effects of these cultural influences.
Overall, "Buds Desperate to Be Pried the Fuck Open" is a searing commentary on the intersection of media, celebrity influence, and sexual development. It challenges readers to consider the implications of a culture steeped in explicit content and the potential long-term effects on young people. By blending vivid imagery with poignant critique, the poem urges a re-examination of societal norms and the ways in which they shape, distort, and accelerate the natural processes of growth and maturity.

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 29)
In "Shoot me, nigga: I wanna live in your fuckin head forever!," M. A. Istvan Jr. crafts a mosaic of stark, thought-provoking stanzas that traverse the landscape of modern human experience, delving into themes of identity, memory, and societal decay. The fragmented narrative captures a series of intense, often disturbing snapshots that challenge readers to confront uncomfortable truths about contemporary life and the human condition.
The opening line, "Shoot me, nigga: I wanna live in your fuckin head forever!" immediately grabs attention with its raw, provocative imagery, suggesting a desire for lasting impact and a fear of being forgotten. This yearning for permanence and the struggle against erasure permeates the entire sequence, reflecting broader anxieties about identity and legacy in a transient world.
Istvan's exploration of memory and legacy is evident in the lines about degrees rescinded due to atrocities later committed, highlighting the fragility of reputation and the harsh judgment of history. The poet delves into the complexities of personal interactions, from accusations of pulling away too quickly from a hug to the cynical observation that "crows will chase squirrels into the roadkill lane—that smart," illustrating the often ruthless nature of both human and animal behavior.
The sequence also addresses societal issues, such as the rigid gender norms in "a land where tomboys must really be boys then," and the chilling image of "sewage shallow enough now to wade through for bodies of family," which starkly portrays the aftermath of disaster and the search for lost loved ones. These lines underscore the pervasive sense of loss and the struggle to maintain connections in a fragmented world.
Istvan's keen observation of human behavior extends to the professional sphere, where "hatred for this president could result in unsafe-optic professors stripped of degrees." This line, alongside the depiction of professors grading papers in their cars due to encroaching poverty, underscores the precariousness of academic and intellectual life in contemporary society.
The poem's middle section, featuring lines like "clocks ticking and walls closing, you need to get her out so you can poop and have peace," juxtaposes mundane personal concerns with larger existential anxieties, blending the trivial with the profound. This interplay continues with reflections on historical memory and cultural artifacts, where "the museum curator, unable to face his shadow, convinced himself the artifact was cursed."
Themes of social inequality and isolation are woven throughout the poem, as seen in the lines about poverty creeping into academia and the imagined future anthropologists sifting through our digital archives, misinterpreting our online presence as religious totems. This portrayal of our digital legacy raises questions about the meaning and permanence of our digital footprints in an increasingly transient world.
Istvan's poetic voice also touches on the challenges of maintaining family connections amidst economic hardship, as "between family members long-separated, filling the silence takes time and energy, and so the poorest are less likely to reach out." This observation poignantly highlights the emotional and logistical barriers that economic struggles impose on familial bonds.
The poem concludes with a reflection on the human need for validation and belonging, as seen in "that urge to prove one’s belonging to whatever group it may seem to advantage one to belong to," and the poignant image of a dark girl in a white grade-school acting as a note-passer between crushes. This final image encapsulates the overarching theme of navigating identity and connection within a societal framework often defined by superficial judgments and deep-seated biases.
M. A. Istvan Jr., poem, identity, memory, societal decay, contemporary life, legacy, human connection, academic life, gender norms, digital legacy, social inequality, family connections, economic hardship, validation, belonging, modern experience, provocative imagery, fragmented narrative.

Istvan Verse on "Beacon Speaks"
In the poem "Beacon Speaks," M. A. Istvan Jr. and collaborators explore the enduring influence of Beacon, a city in New York's Hudson Valley, on its former residents. Through various voices and perspectives, the poem captures the complexities of identity, memory, and the struggle to rise above one's origins while still being inevitably shaped by them. The chorus sections emphasize the lasting impact of Beacon's culture and environment on those who have left, while the verses delve into personal experiences and the gritty realities of life in and around Beacon.
The poem opens with a chorus that sets the stage for the exploration of Beacon's influence, noting how even those who have "made it out on top" carry traces of their past: "bad teeth, self-doubt, slang, even our bop." This establishes a theme of inescapable heritage, where one's origins continue to speak through their current selves, often in ways that are subtly discernible to others.
Istvan's verse delves into the specific social dynamics and characters of Beacon, painting a vivid picture of life in the city. He describes the allure of "hoodrats" and the chaotic scenes of black preggos, acrylic-nail scratches, and blunt-rolling alley cats. This verse highlights the cyclical nature of life in Beacon, where even those who leave are drawn back to familiar environments and relationships, often fraught with dysfunction and struggle. The scene is raw, filled with blunt-rolling alley cats and Baby Phat-wearing women. The struggle is palpable—child support dodges, cracked 40 Miller drafts, and chaotic confrontations. These characters are deeply entrenched in a cycle that seems impossible to break, highlighting the relentless grip of their environment.
The second chorus shifts the focus to those who have given up certain vices but still carry emotional and psychological scars: "teary eyes, rage-outs, fear, even our cocks." This section underscores the pervasive sense of incompleteness and the lingering effects of past behaviors and experiences.
The third chorus extends the theme of being perceived as "off" by others due to past behaviors and associations, this time focusing on the physical and social markers that set former Beacon residents apart: "crooked grills, distrust, dress, even jump shots." The refrain reinforces the idea that the influence of one's origins is pervasive and recognizable, affecting how they are received in new environments.
The fourth chorus addresses those who have sought philosophical or spiritual insights, noting how even such pursuits are colored by their past: "drug abuse, con ways, stress, even our ox." This section suggests that no matter how far one moves intellectually or spiritually, the influence of one's background persists.
Overall, "Beacon Speaks" is a powerful exploration of the inescapable influence of one's origins. It captures the enduring mark of a place on its people, illustrating how past environments and experiences continue to shape identities and perceptions. Through vivid imagery and personal narratives, the poem delves into themes of identity, struggle, and the complex relationship between one's past and present.
M. A. Istvan Jr., Beacon Speaks, poem, identity, struggle, Beacon NY, addiction, personal narrative, cultural influence, memory, community, past and present, literary exploration, social dynamics, lyrical poetry, urban life, Hudson Valley.

Kennedy Fried Chicken
"Kennedy Fried Chicken" by Michael Anthony Istvan Jr. captures the intricate dance between survival and parenthood within an urban setting. The poem delves into the life of a corner dealer, a figure deeply entrenched in the city’s gritty reality. His attempt to maintain a semblance of normalcy and connection with his child is depicted against the backdrop of his illicit activities. The opening lines introduce us to the dealer, who, despite his circumstances, tries to assure himself of his presence in his child’s life. The mention of "his ex in her phone" suggests a fragmented relationship, emphasizing the isolation that often accompanies such a lifestyle. The act of lifting his child high and inquiring about his behavior is a fleeting attempt at normalcy, a brief moment of connection amidst the chaos.
Istvan’s use of vivid imagery paints a stark picture of the dealer’s world. The constant need for vigilance is highlighted by his sweeping gaze for cops among the "nonstop horns." This vigilance is not just a part of his professional life but also intrudes into his personal moments, creating a tension between his role as a father and his need for survival. The dealer’s eye constantly scanning for threats underscores the persistent danger in his environment, detracting from his ability to fully engage with his child.
The poem’s structure and enjambment emphasize the fragmentation of the dealer’s existence. Lines like "in that window / of lifting him high" illustrate the brief, transient nature of his interactions with his child. These moments are overshadowed by the external pressures that define his life. The presence of a client, "hands in jean pockets, edging closer," serves as a reminder of the inescapable demands of his trade, constantly intruding upon personal interactions.
Istvan’s portrayal of the urban environment is both vivid and oppressive. The "nonstop horns" create a backdrop of constant noise and activity, reflecting the relentless pace of the dealer’s life. This setting amplifies the tension between his desire to be a good father and the realities of his circumstances. The client’s approach, subtle yet inevitable, symbolizes the persistent encroachment of his illicit activities on his personal life.
In "Kennedy Fried Chicken," Istvan masterfully captures the duality of the dealer’s existence. His struggle to balance his illicit livelihood with his parental responsibilities is depicted with sensitivity and depth. The poem highlights the inherent conflict in trying to maintain personal connections while navigating a life fraught with danger and uncertainty. Through its concise yet powerful imagery, the poem offers a poignant reflection on the challenges of parenthood within the context of urban survival, underscoring the dealer’s perpetual state of alertness and the fleeting nature of his moments of connection with his child.
urban survival, fatherhood, corner dealer, illicit activities, parenthood challenges, urban environment, constant vigilance, fleeting moments, personal connection, external pressures, gritty reality, Michael Anthony Istvan Jr., poetry, vivid imagery, urban life, dealer’s dual existence, parental responsibilities, urban setting, tension, survival, parental connection.

Italian Way?
"Italian Way?" explores the nuanced and often misunderstood cultural differences in social interactions, particularly focusing on the affectionate behavior of Italians and the discomfort it can cause for someone from a more reserved culture like the United States. The poem examines these interactions through the lens of the narrator's personal experiences, highlighting the tension between cultural norms and individual perceptions.
The opening lines, "Everyone says, 'It’s not / that they’re fags. Italians / just tend to get real close, / in your face when speaking,'" immediately set up the central theme of cultural misunderstanding. The use of the derogatory term "fags" underscores the narrator's discomfort and the casual homophobia that can color interpretations of affectionate behavior. This phrase captures a common stereotype about Italian men, reflecting the narrator's internal conflict and the societal prejudices they carry.
The line "But there must be some link" hints at the narrator's suspicion and inability to fully accept the cultural explanation provided. This skepticism drives the narrative forward, as the narrator recounts their experiences with Italian friends who "snuggle up, / nudging to ass-dick me." The crude imagery here accentuates the narrator's discomfort and the perceived invasion of personal space, a stark contrast to the Italian way of expressing friendship.
The whispered reassurance, "USA. We friends, no?" adds a layer of complexity to the narrative. It suggests that the Italians are aware of the cultural differences and are trying to bridge the gap with a simple, friendly affirmation. This phrase also highlights the narrator's struggle to reconcile their own cultural norms with the affectionate behavior they encounter.
The involvement of the Italian mothers further complicates the narrative. The mother’s insistence that the narrator not sleep on the floor, coupled with her cheerful inquiry, "Young men have much good night?" suggests a cultural expectation of closeness and hospitality. The mother’s potential wink, while the father's head is buried in the newspaper, adds a subtle undercurrent of complicity and perhaps a gentle acknowledgment of the narrator's discomfort.
The narrator's failure to "attend close / enough to see for sure" speaks to their ongoing confusion and inability to fully understand or accept the nuances of Italian social norms. This line suggests a deliberate distance or avoidance, a way of coping with the discomfort and ambiguity of the situation.
Overall, "Italian Way?" uses vivid, sometimes uncomfortable imagery to explore the clash of cultural norms. The narrator's experiences highlight the tension between personal space and affectionate behavior, questioning the boundaries of friendship and hospitality. The poem encapsulates the complexities of cross-cultural interactions, where well-meaning actions can be misinterpreted through the lens of prejudice and discomfort.
The poem’s strength lies in its ability to capture the subtleties of these interactions, leaving the reader to ponder the balance between cultural acceptance and personal boundaries. Through the narrator's eyes, we see the challenges of navigating a world where social norms are fluid and often contradictory, ultimately questioning how we can bridge these gaps with understanding and respect.

Foreplayed by the R&B Talkdown
"Foreplayed by the R&B Talk Down" is a poem that meticulously mimics the format and style of an R&B monologue, often characterized by a smooth-talking, repetitive cadence filled with emotional platitudes. However, upon closer examination, it becomes evident that the poem serves as a satirical critique of this genre, exposing the emptiness and superficiality often found in such monologues. The dedication to the poet's father adds a layer of irony, suggesting a generational commentary on the acceptance and perpetuation of these hollow expressions of emotion.
The opening lines, "Look here, baby gurl—fine thang. / I saw ya the other day and—," immediately set the stage for what appears to be a heartfelt and intimate conversation. However, the casual and clichéd language, such as "baby gurl" and "fine thang," quickly reveals the superficial nature of the speaker's declarations. The ellipses and pauses mimic the flow of spoken word, but instead of adding depth, they highlight the lack of substance and the performative aspect of the dialogue.
Throughout the poem, the speaker's attempts at expressing genuine emotion are undermined by the repetitive and formulaic nature of their words. Phrases like "these feelin’s are real: genu-wine" and "please believe me when I say" come across as insincere and contrived, suggesting that the speaker is more interested in the performance of affection than in conveying true feelings. This tension between the appearance of sincerity and the underlying emptiness is a central theme of the poem, critiquing the genre's reliance on style over substance.
The middle section, "You’re everythang, everythang I do. / See, promises—they come and go. / And gurl, trust me when I say," underscores the hollowness of the speaker's declarations. The repetition of "everythang" and the vague references to promises and trust fail to convey any real sense of commitment or emotion. Instead, they highlight the speaker's reliance on generic phrases and empty reassurances, reinforcing the poem's critique of the superficiality inherent in many R&B monologues.
As the poem progresses, the speaker's words become increasingly vapid and disjointed. Lines like "Right there, right there in those eyes. / We’ve come so so far and—think. / Think back wit’ me baby, you’ll see" lack coherence and depth, further emphasizing the emptiness of the speaker's rhetoric. The poem's repetitive structure and shallow language serve to mock the genre's tendency to prioritize form over content, highlighting the disconnect between the speaker's words and any genuine emotional expression.
The poem’s closing lines, "Just one thought, one’s all it takes. / I know ya hear me gurl. Yeah. / I know ya understand," encapsulate the speaker's vacuousness. The insistence that "one thought" is sufficient to convey deep emotion is a final ironic twist, underscoring the superficiality of the entire monologue. The repetition of "I know ya" and the final "Yeah. / I know ya understand" ring hollow, leaving the reader with a sense of the speaker's profound emptiness.
The dedication to the poet's father adds an additional layer of irony and complexity to the poem. It suggests a generational reflection on the acceptance and perpetuation of these shallow expressions of emotion, perhaps critiquing a cultural lineage that values performance over genuine connection. This dedication transforms the poem from a simple parody into a more profound commentary on the ways in which superficial emotional expressions are passed down and normalized.
"Foreplayed by the R&B Talk Down" is a satirical and incisive critique of the R&B monologue genre, exposing the superficiality and emptiness often masked by its smooth-talking, repetitive cadence. Through its careful mimicry and ironic dedication, the poem highlights the disconnect between appearance and reality, critiquing a cultural form that prioritizes style over substance. The poem serves as a reflection on the ways in which empty expressions of emotion are perpetuated and accepted, challenging the reader to look beyond the surface and seek deeper, more genuine connections.

A Middle-School Situation
"A Middle-School Situation" captures the turbulent, awkward, and often humiliating experiences of adolescence through a detailed and visceral recounting of a specific incident. The poem is divided into four distinct sections, each contributing to the development of the central themes: the pressure to conform, the impact of socioeconomic status on self-esteem, the acute self-consciousness of adolescence, and the harsh realities of social dynamics in middle school.
The poem begins by setting the stage with the physical and emotional landscape of seventh grade. This is a period characterized by foreign odors—sweat, cum, and cologne—and the growth of acne and insecurity, highlighting the physical changes and hormonal upheavals typical of early adolescence. The inherent desire to be attractive and accepted is underscored by the social pressures faced by young adolescents. The protagonist’s father buys him the latest Jordans—two sizes too big and conspicuously bootleg—from a corner spot in Beacon. The father’s pragmatic approach, dismissing the dunking logo’s flaws with a casual “Who’s gonna get that fuckin’ close?” contrasts with the protagonist's acute awareness of potential scrutiny. This sets up the central conflict between the appearance of fitting in and the reality of socioeconomic limitations.
The second section details the protagonist’s arrival at school and the slow, horrifying realization that he has stepped in dog feces. This section is rich with sensory imagery, as the dual nature of the smell—shitty yet somehow perfumed—represents the conflicting realities of adolescence. The protagonist’s hyper-awareness and paranoia about being discovered illustrate the acute self-consciousness and fear of embarrassment common in middle school. His attempts to identify the source of the smell through covert actions, such as a muscleman yawn and stretching forward, add a layer of humor while emphasizing his desperation to avoid detection. The repeated actions of scraping his shoe on the desk’s book storage compartment symbolize the persistent and often futile efforts to erase visible signs of one’s perceived failures or inadequacies. The protagonist’s pretense of being engaged in the lecture while dealing with the crisis beneath the desk underscores the duality of his experience—outwardly maintaining a façade while internally panicking. The reliance on "stealth fantasies" to cope with embarrassment reflects the psychological mechanisms children use to handle overwhelming social anxiety.
The third section explores the social repercussions of the incident. The protagonist attempts to rationalize the lack of immediate confrontation, highlighting the cognitive dissonance that often accompanies social mishaps. The broader impact of the incident is revealed when the entire class has to be evacuated due to the smell, leading to inevitable but unspoken blame on the protagonist. The poem concludes on a poignant note, emphasizing the protagonist's relief mingled with lingering anxiety as the teacher and classmates avoid directly addressing the incident.
The poem's themes revolve around the pressure to conform, self-consciousness and anxiety, socioeconomic disparities, and social dynamics and bullying. The protagonist's efforts to fit in with his peers through material possessions, despite economic constraints, underscore the universal adolescent struggle for social acceptance. The detailed recounting of the protagonist's inner turmoil and outward actions encapsulates the intense self-awareness and fear of humiliation that characterize middle school experiences. The bootleg Jordans and inverted Hilfiger tee symbolize the broader theme of socioeconomic disparities and their impact on self-esteem and social interactions among adolescents. The poem subtly addresses the complex social dynamics of middle school, where perceived weaknesses can make one a target, yet sometimes incidents pass without direct confrontation, leaving lasting psychological scars.
"A Middle-School Situation" is a vivid and empathetic exploration of adolescence. Through its rich sensory detail, humor, and psychological depth, the poem captures the often painful and awkward journey of growing up, highlighting themes of conformity, self-consciousness, and the impact of socioeconomic status on social experiences. The narrative’s authenticity and relatability make it a poignant reflection on the universal trials of navigating middle school.

Ideomotor
"Ideomotor," a compact and evocative poem, delves into themes of communication, autonomy, and the human desire for connection despite severe physical limitations. Through the portrayal of two individuals with significant physical and cognitive impairments, the poem explores the intersection of the body and mind, as well as the role of facilitators in bridging gaps that seem insurmountable.
The poem opens with a striking image: "Two palsied underbites in diapers, / said to have minds of infants." This description immediately sets the tone, highlighting the severe physical disabilities of the subjects. The use of "palsied underbites" and "diapers" evokes a sense of vulnerability and dependence, while "said to have minds of infants" suggests that their cognitive abilities are perceived as extremely limited. This introduction serves to underscore the significant challenges faced by the individuals in question.
The second line, "flirt / on a first date through a facilitator," introduces a layer of unexpected complexity and tenderness. The notion of flirting, typically associated with light-hearted and voluntary interaction, is juxtaposed against the severe disabilities of the individuals. The inclusion of a "facilitator" indicates that their interaction is not entirely self-directed but mediated through an intermediary. This raises questions about autonomy and the nature of their communication. Is their flirting genuine, or is it influenced by the facilitator's guidance?
The poem's middle lines, "Bracing their wrists, she guides / their hands, like Ouija planchettes," employ a vivid simile to convey the process of facilitated communication. The comparison to "Ouija planchettes" is particularly poignant. Just as a planchette moves across a Ouija board seemingly under the influence of an unseen force, the facilitator's hands guide the individuals' hands to form words. This simile evokes the ideomotor effect, a psychological phenomenon wherein a person makes motions unconsciously. The choice of this comparison invites readers to ponder the authenticity and origin of the communication. Are the words truly coming from the individuals, or are they being influenced, consciously or unconsciously, by the facilitator?
The final line, "to letters on the table before them," grounds the poem in a specific action: the process of spelling out words. This image emphasizes the painstaking nature of their interaction, where each letter represents a significant effort. It also highlights the fundamental human drive to communicate and connect, even when faced with profound obstacles.
The poem raises essential questions about the nature of communication for individuals with severe disabilities. It challenges readers to consider the authenticity of facilitated communication and the extent to which these individuals can express their thoughts and emotions independently.
Despite their limitations, the subjects of the poem engage in an inherently human activity: flirting on a first date. This interaction underscores the universal desire for connection, love, and companionship, which persists even in the face of significant barriers.
The facilitator's role is crucial in the poem, acting as a bridge between the individuals and the world around them. This role, however, is fraught with ethical considerations. The facilitator's influence over the communication process raises questions about agency and the potential for misinterpretation or projection.
The poem's comparison to Ouija planchettes invokes the ideomotor effect, prompting readers to reflect on the unconscious influences that might shape communication. This metaphor adds a layer of complexity, suggesting that the boundary between genuine expression and facilitated input is not always clear.
"Ideomotor" is a thought-provoking and layered poem that delves into the complexities of communication and human connection for individuals with severe disabilities. Through its vivid imagery and poignant simile, the poem invites readers to question the nature of facilitated communication and the extent to which autonomy can be maintained in such interactions. It highlights the enduring human desire for connection and the significant role of facilitators in enabling communication, all while raising important ethical and philosophical questions. The poem's brevity belies its depth, offering a rich terrain for reflection on the intersections of body, mind, and communication.

An Open Letter to Literary Magazines
In "An Open Letter to Literary Magazines," the author confronts the contemporary literary landscape, specifically targeting the perceived decline of transgressive writing within reputable and even obscure venues. The piece grapples with the infiltration of politically correct agendas, which aim to sanitize content in the name of creating "safe spaces." This trend, the author argues, has seeped into institutions that were once bastions of intellectual rigor and boundary-pushing discourse, such as comedy clubs, literary magazines, and universities.
The letter opens with a broad condemnation of the current state of literary venues, highlighting a pervasive "HR agenda" that seeks to shield audiences from unsettling content. The author decries this trend as "mediocritizing" and suggests it stifles growth by limiting exposure to challenging ideas. The language used—"niqab reality," "metastasized," and "trigger-minimal"—conveys a sense of suffocation and stagnation. This imagery underscores the perceived loss of authenticity and depth in contemporary literary and academic environments.
Central to the argument is the notion that the right to remain unchallenged has gained undue prominence. This sentiment is portrayed as having spread virally from academic campuses to social media and beyond, infecting even "innocent countries." The letter criticizes the practice of allowing students to opt-out of readings deemed too triggering, positing that this undermines the educational mission of universities. The hyperbolic example of a professor fired for teaching the Chinese word for "um" illustrates the extremes to which this protective impulse can lead, suggesting a stifling environment where even benign content is censored.
The author contends that the concept of "transgressive literature" has been co-opted and diluted by what is, paradoxically, an anti-transgressive agenda. Instead of fostering genuine boundary-pushing content, literary magazines are accused of promoting works that align with a new orthodoxy—what the author derisively terms "militant HR-memos." These works, while superficially bold, ultimately serve to reinforce prevailing ideological norms rather than challenge them. The satirical tone and use of phrases like "militant HR-memos" and "fidelity to orthodoxy" highlight the perceived absurdity of this shift.
Further, the letter critiques the expanding list of what is deemed "problematic," arguing that this trend leads to the exclusion of authentic expressions of human experience. The mention of "trans character that gets murdered," "animal abuse," and "cuisine nonnative to the author" as examples of censored content underscores the perceived overreach of these policies. The author laments the loss of a space where writers can "voice the deepest nuances of our humanity in the nude," free from the "ever-expanding and ever-thickening filters of social media."
In calling for a revival of truly transgressive writing, the author invokes the legacy of figures like Bataille, whose work epitomizes the outsider, subversive, and unspeakable. The rhetorical question at the end—"Is not the right wing, embolismed by children’s books of crossdressing kids, supposed to be the wing that bans art?"—serves to highlight the irony of the left-leaning literary establishment engaging in censorship. This inversion of expectations underscores the essay's central thesis: that the guardians of liberal, progressive values have become the new censors, undermining the very principles they claim to uphold.
"An Open Letter to Literary Magazines" is a passionate and provocative critique of contemporary literary culture. The author challenges the current norms that prioritize emotional safety over intellectual rigor and artistic freedom. Through a blend of satire, hyperbole, and earnest critique, the letter calls for a return to a more robust, challenging, and genuinely transgressive literary environment. The piece serves as a rallying cry for those who believe in the transformative power of unsettling art and the necessity of preserving spaces where the full spectrum of human experience can be explored without fear of censorship.

Princess Imprints
"Princess Imprints" is a unique business venture offering custom-tailored, worn garments designed to cater to individual sensory desires. The company emphasizes the uniqueness of each piece, providing a range of sources and personalization options to satisfy varied tastes. Customers can choose from everyday items to more exotic garments, each promising a distinct scent and feel that enhances the sensory experience.
Privacy is a top priority for Princess Imprints, with discreet packaging ensuring that all purchases remain confidential. To further personalize the experience, the company offers extras such as Polaroid photos and handwritten notes, adding a touch of intimacy and connection to each order.
The community surrounding Princess Imprints values quality, nostalgia, and sensual connections, creating a sense of belonging for those who share these interests. Every purchase from Princess Imprints is more than just an acquisition; it's a journey into the essence of personal touch and hidden desires, offering customers an intimate and unique experience that goes beyond the ordinary.

After Careful Consideration
"After Careful Consideration" offers a scathing critique of contemporary literary and cultural trends, particularly in the realm of poetry publication and academic environments. The poet reflects on how their more thoughtful and meticulously crafted poems, which demand careful rereading and deep reflection, are often overlooked by literary magazines. Instead, editors tend to favor poems that are deliberately nonsensical, filled with haphazard associations and exaggeratedly politically correct terminology. These "zany baloney" pieces, the poet notes, are akin to spoofs and hoaxes, revealing a preference for superficiality over substance.
The poet initially created these nonsense poems as sting operations to expose the literary world's decline. Over time, these hoaxes became a coping mechanism, highlighting a pervasive decadence that aligns with a cultural ethos where meaning is subjective, and allegations equate to guilt without due process. This societal tendency is characterized by a lack of hope for genuine literary and intellectual engagement.
A professor's commentary within the poem provides historical context, tracing this cultural phenomenon back to American literary traditions embodied by figures like Melville and Twain, where the conman is a central figure. The critique extends to contemporary issues such as the superficiality driven by consumerism, social media, and a preference for instant gratification. This is juxtaposed against the backdrop of a higher education system that prioritizes activism and identity politics over rigorous intellectual inquiry, fostering an environment hostile to genuine diversity of thought.
The professor's lament underscores a broader cultural critique: a society that values appearance over substance, quick fixes over deep understanding, and sensationalism over truth. This critique encompasses the public's preference for simplistic pop music, conspiracy theories, and the elevation of entertainers to positions of political power, all contributing to a landscape where genuine education and intellectual engagement are undervalued.
Overall, "After Careful Consideration" serves as a powerful indictment of contemporary literary and cultural values, emphasizing the poet's frustration with a world that rewards superficiality and political correctness over depth, craftsmanship, and intellectual rigor.


blog
FAQ

Visit my Substack: Hive Being
Visit my Substack: Hive Being

Don’t let anyone tell you that real life is lacking in poetic interest. This is exactly what the poet is for: he has the mind and the imagination to find something of interest in everyday things. Real life supplies the motifs, the points that need to be said—the actual heart of the matter; but it is the poet’s job to fashion it all into a beautiful, animated whole. You are familiar with Fürnstein, the so-called “nature poet”? He has written a poem about growing hops, and you couldn’t imagine anything nicer. I have now asked him to write some poems celebrating the work of skilled artisans, in particular weavers, and I am quite sure he will succeed; he has lived among such people from an early age, he knows the subject inside out, and will be in full command of his material. That is the advantage of small works: you need only choose subjects that you know and have at your command. With a longer poetic work, however, this is not possible. There is no way around it: all the different threads that tie the whole thing together, and are woven into the design, have to be shown in accurate detail. Young people only have a one-sided view of things, whereas a longer work requires a multiplicity of viewpoints—and that’s where they come unstuck.—Goethe (Conversations with Eckermann)

Featured Blog Posts
have appeared last night—
all those met along the way?