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 in the absence of expected disaster, we are 
 
left again to what we do not want to be 

left again to: each other—each other’s eyes

to Hive being

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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.

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Michael Anthony Istvan Junior 9/18/24 Michael Anthony Istvan Junior 9/18/24

Mosh Pit

This poem offers a visceral exploration of primal impulses, drawing a parallel between human and animal behavior through the metaphor of a mosh pit. The opening line, "Even gorilla parents wrap their lips over their teeth," sets the stage for a meditation on restraint and the balance between aggression and affection, especially in parental relationships. Gorillas, known for their strength and potential ferocity, are portrayed here as embodying a careful, controlled interaction with their offspring, much like human parents who must temper their power when engaging with vulnerable children.

The physicality of the imagery, particularly the "nibbling at toddler limbs," highlights the tension between the primal urge to exert force and the necessity of tenderness. This tension mirrors human experiences where instincts to dominate or overpower must be subdued in the face of fragility and innocence. The mosh pit, implied through the metaphor of "ear-pulling romping of dumb flesh," serves as a symbol for both play and the underlying potential for violence in social interactions. Here, the "dumb flesh" speaks to the inherent vulnerability of the young or weaker party, whose playful or chaotic movements test the limits of the stronger being's self-control.

The poem’s deeper theme revolves around the idea of placation—specifically, how beings, whether animal or human, manage their aggressive urges through negotiated behaviors. The urge to bite "clean through" becomes a metaphor for unchecked aggression or violence, while the act of nibbling and lip-wrapping represents the channeling of those impulses into socially acceptable actions. This primal flirtation with violence is not eradicated but managed through a delicate dance between desire and restraint. The speaker suggests that such behaviors are not limited to animals but are intrinsic to human nature as well, making the mosh pit a fitting metaphor for the chaotic, often unspoken negotiation between our violent urges and the social need for control.

The poem thus becomes an exploration of the thin line separating play from harm, highlighting how both humans and animals navigate this boundary. It raises questions about the nature of power, vulnerability, and the inherent fragility of life, all of which are subjects negotiated through our interactions with others—be it in a parental relationship, a social gathering, or the wider context of societal norms that manage violence.

primal urges, gorilla parenting, mosh pit, violence, restraint, fragility, social negotiation, human behavior, parental interaction, animal metaphor.

Michael Anthony Istvan Junior 9/10/24 Michael Anthony Istvan Junior 9/10/24

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 38)

This work presents a fragmented reflection on the darker undercurrents of human experience, focusing on trauma, repression, and the blurred boundaries between innocence and corruption. The imagery is visceral and often unsettling, blending the banal with the grotesque to evoke the ways in which trauma and desire coexist beneath the surface of everyday life. Themes of childhood innocence—juxtaposed against adult sexual desire—are explored through imagery that collapses the distance between pure curiosity and exploitation. For example, the toddler’s innocence is tainted by the presence of a molester, and a playful carousel ride morphs into a symbol of lurking, predatory intent. Such images suggest that the line between innocence and corruption is precarious, and that society’s attempts to uphold these distinctions are fragile at best.

From a psychoanalytic perspective, the poem can be interpreted as a meditation on the return of the repressed. The grotesque acts and desires mentioned—such as the molester’s exploitation of a toddler or the autistic child digging into their own flesh—seem to surface as manifestations of latent, unspoken traumas. Freud’s theory of the unconscious, particularly his idea that repressed desires and fears manifest in unexpected and often disturbing ways, can be applied to this text. The work’s refusal to provide a clear narrative mirrors the disjointed nature of traumatic memory, which often resurfaces in fragments, disassociated from linear time. The text’s seemingly unrelated vignettes of disturbing experiences highlight this fragmentation, suggesting that trauma and repression are not easily contained or processed within the bounds of conventional language or narrative.

Additionally, the poem addresses how language and cultural symbols both expose and obscure human experiences of desire and trauma. The image of a child gripping a carousel pole, sticky from cotton candy, is particularly striking in how it conflates innocence with impending danger. Carnivals and carousels, often symbols of childhood joy, are here tinged with a darker sexual undercurrent, pointing to the intrusion of adult knowledge and predatory impulses into the realm of childhood. This collapse of boundaries suggests a Freudian reading of the poem’s themes, where the distinctions between childhood innocence and adult desire are unstable, revealing a more troubling, unconscious reality.

Moreover, the poem’s fragmented structure and shifting imagery evoke a post-structuralist critique of how language fails to capture the full complexity of human experience. The work challenges the notion that meaning can be neatly contained within social norms or linguistic structures, particularly when it comes to the taboo or unspeakable aspects of human life. The text implies that societal efforts to categorize or explain human behavior—especially in terms of innocence and guilt, desire and trauma—inevitably fall short. Instead, the poem suggests that these experiences are more fluid, existing in a liminal space where language falters and cultural distinctions break down. This mirrors the psychoanalytic idea that much of human experience exists beyond the reach of conscious articulation, driven by unconscious desires and traumas that resist simple categorization or explanation.

Ultimately, the work grapples with existential questions about the human condition, particularly the tension between what is socially acceptable and what lurks beneath the surface. The recurring theme of unspeakable desires, whether sexual or otherwise, reflects a broader discomfort with the limits of language and societal structures in addressing the more primal aspects of human existence. The poem invites the reader to confront these uncomfortable truths, exposing the fragility of societal norms and the inadequacy of language to fully contain the darker elements of human nature.

This collection of fragmented reflections and images explores profound and often disturbing aspects of human experience, such as trauma, innocence, desire, and the collapse of language as a means to convey these complexities. The fragments embody a modernist approach to poetry, reminiscent of the stream-of-consciousness technique and the fragmented poetics of T.S. Eliot or the late avant-garde. The text juxtaposes ordinary and grotesque moments, oscillating between the innocence of childhood and the disturbing forces that shape it. It reflects on the inability of language, and by extension societal norms, to fully contain or express human experiences, particularly those related to trauma, exploitation, and base desires.

The recurring motif of innocence turned grotesque suggests that trauma is a cyclical and often subliminal force passed from generation to generation. The repeated invocation of childhood innocence—juxtaposed with sexual exploitation and degradation, as seen in lines like “sexual to the molester; pure curiosity to the toddler” or the “five-year-old paid a quarter for quarter entry”—interrogates the vulnerability of the child figure within a morally ambiguous or corrupt world. The grotesque descriptions of physical bodies and behaviors—such as "ass-digging autistic child sniffs his fingers" or "the bed-head beer-drunk flipflops around her trailer park"—further underscore the dissolution of social and moral boundaries. This blurring of the sacred and profane is an exploration of what theorists like Julia Kristeva would refer to as the "abject," elements of human experience that society repels yet remains fascinated by.

The piece also confronts the inadequacies of language and thought to contain or make sense of such experiences. The phrases "aspiring—squirming—for things for which there are no words" and "desire spilling beyond the brim of vocabulary" point to the central dilemma in which language is inadequate to express certain human conditions—particularly those related to trauma, primal desires, or existential dread. In the tradition of post-structuralist thinkers like Derrida, the text suggests that the reality of human experience is mediated through, and often trapped by, language, which both reveals and conceals. Words fail to convey the depth of human suffering, desire, and existential uncertainty, yet they remain the primary vehicle for meaning-making.

Finally, the piece delves into the intergenerational transmission of trauma, particularly through familial structures and cultural norms. Whether in the abusive imagery or in subtler, more existential reflections like "baroque prose covering horrible thoughts in a purple veil," the text suggests that families, social systems, and even language serve as carriers of trauma. In this sense, it aligns with psychoanalytic and post-Freudian critiques of family dynamics, exploring the repressed violence and desires that shape human development. The seemingly innocuous act of childhood play ("the password to the pillow fort") becomes an emblem of how trauma can be encoded in memory, later emerging as "a linguistic knot of innocence and trauma."

This piece uses fragmented imagery and disjointed reflections to explore the intergenerational transmission of trauma, societal repression, and the inadequacies of language to express complex human emotions and desires. It challenges the boundaries between innocence and grotesqueness, sacred and profane, while delving into the subtle ways trauma manifests in everyday life.

trauma, innocence, repression, grotesque, language inadequacy, psychoanalysis, intergenerational trauma, societal norms, abjection, existential dread, linguistic failure

Michael Anthony Istvan Junior 9/9/24 Michael Anthony Istvan Junior 9/9/24

Skirt

This poem offers a critique of the systemic and societal failure to address the awkward and confusing aspects of puberty. It underscores the silence and avoidance surrounding these critical developmental moments, pointing to the lack of guidance and support for young people navigating their changing bodies. The metaphor of being “bound by a clock now ticking” illustrates the relentless passage of time as both an internal and external pressure—where the inevitable arrival of puberty forces conversations that many adults, particularly those in institutional roles, attempt to evade. The figure of “Dr. Script Checklist” functions as a representation of institutional figures such as doctors, teachers, or even parents, who, instead of offering meaningful guidance, rely on standardized, superficial interactions that fail to address the emotional and psychological depth of what adolescence entails.

The poem’s vivid imagery, such as the “eyebags of evasion” and the “rank room of hairy changes,” speaks to the physical and emotional toll that avoidance takes on both the guides (the institutional or adult figures) and the preteens themselves. The description of the “eyebags” as a symbol of exhaustion suggests a cumulative fatigue—likely the result of years of evading honest discussions about puberty, sexuality, and the complex emotional landscapes that accompany these changes. The “rank room” symbolizes the uncomfortable and often unspoken realities of the adolescent body, where physical changes become the site of embarrassment and shame rather than natural development.

Moreover, the absence of a “knee-to-knee sit-down” conveys a deep failure in communication, one that should be intimate and compassionate but is instead replaced by institutional coldness or personal avoidance. The poem draws attention to the systemic neglect of emotional education, where myths of shame surrounding puberty are not addressed directly. The phrase “inoculating the preteen” cleverly uses medical language to highlight the idea that just as vaccines protect the body from disease, open and honest conversations can protect the mind from the toxic myths and distortions about puberty and sexuality. However, the poem laments that such intellectual and emotional “vaccination” does not take place. Instead, the myths surrounding puberty are “too ubiquitous to call ‘distorted,’” pointing to the overwhelming pervasiveness of shame and misunderstanding.

The poem also critiques the societal failure to recognize the importance of guiding young people through puberty, which is often relegated to a distant, uncomfortable task to be avoided rather than embraced. This systemic negligence results in preteens navigating the tumultuous waters of puberty alone, left to grapple with confusing and complex feelings without the support they deserve. Through its subtle yet pointed critique, the poem captures the intersection of institutional avoidance, personal evasion, and the vulnerable moments of adolescence that are left untended.

This poem critiques the societal and medical neglect of puberty and the failure to guide young individuals through these vulnerable changes. Using medical language and powerful imagery, it exposes the pervasive myths of shame surrounding adolescence and highlights the systemic avoidance of difficult but necessary conversations.

puberty, societal avoidance, systemic neglect, adolescence, medical language, institutional failure, shame, myths, emotional guidance, intellectual vaccination, development, Dr. Script Checklist, adolescence transition, preteen challenges, body changes, emotional toll, personal evasion.

Michael Anthony Istvan Junior 9/8/24 Michael Anthony Istvan Junior 9/8/24

Pillow Fort Password

"Pillow Fort Password" examines the horrifying reality of childhood molestation, a subject approached through unsettling imagery and a juxtaposition of innocence and corruption. The poem opens with "wide-eyed curiosity unfazed," suggesting the child's initial innocence, but this is quickly undermined by a darker narrative. The reference to Elsa’s "Let It Go," a song typically associated with childhood joy, contrasts sharply with the description that follows—"cherub hands" turning into a "gargoyle grip." The transformation from an angelic to monstrous image hints at the violation of innocence, with the child becoming an unwitting participant in something grotesque.

The line "pump that veiny rigidity with an obscene autonomy" is a disturbing and explicit reference to a child being involved in an act of molestation, underscoring the obscene and coercive nature of the situation. The phrase "too vigorous, too disinviting of oversight" points to the lack of adult intervention or awareness, a damning critique of societal failure to protect children from such abuse. The absence of "oversight" speaks to the hidden, secretive nature of molestation, where acts of violation occur beyond the gaze of those responsible for the child's safety. The use of the word "demonic" in the final line encapsulates the evil inherent in the situation, framing the molestation as not just a moral failing but a violation of the child's very humanity.

The pillow fort, typically a symbol of childhood innocence and imagination, becomes a setting of betrayal. It symbolizes a supposed place of safety turned into a site of trauma, furthering the sense of innocence corrupted. The use of sexual imagery combined with the context of childhood play creates a disturbing tension, reflecting the grotesque inversion of something pure into something deeply harmful. The poem is a stark portrayal of the hidden, horrific reality of child molestation and the failure of those who should be safeguarding the vulnerable.

"Pillow Fort Password" addresses the troubling intersection of childhood innocence and burgeoning sexual awareness, using stark and provocative imagery to critique societal discomfort with discussing bodily autonomy and sexual curiosity in young people. The poem sets up a tension between the external appearance of innocence, symbolized by the “wide-eyed curiosity” of the child unfazed by something as innocuous as Elsa’s “Let It Go,” and the darker, more complex undercurrent of premature sexual behavior. The "gargoyle grip" that is "hellbent on velocity" portrays an intense, almost otherworldly force behind the child’s actions, raising questions about the role of natural curiosity versus the taboo nature of such behaviors in society’s view.

By invoking a children's figure like Elsa, the poem establishes an environment of childhood innocence that contrasts with the more disturbing image of the child’s autonomous, unregulated exploration of their body. The saliva-evoking laughter transitions into an act that society may view as inappropriate or ‘demonic,’ highlighting the cognitive dissonance adults experience when witnessing children express forms of sexuality, however innocent the intention may be. This tension between innocence and obscenity underscores a larger societal reluctance to confront the reality of childhood sexual exploration, preferring to demonize or repress rather than guide.

The use of phrases like “obscene autonomy” and “too disinviting of oversight” reflects on the failure of adult intervention in such scenarios, whether due to ignorance, fear, or discomfort. The poem suggests that the child’s actions, though natural, become coded as demonic or inappropriate due to the inability or unwillingness of caregivers to engage with them constructively. It critiques the societal impulse to impose moral judgments on behavior that falls outside of traditional expectations of childhood purity, exposing a failure to reconcile the realities of bodily autonomy with normative ideas of innocence.

The poem can be read as a commentary on the complexity of child development, where boundaries between innocence and emerging sexuality are often blurred, and societal taboos prevent meaningful guidance or understanding. It calls attention to how these taboos, far from protecting children, contribute to a culture of avoidance and silence, leaving them to navigate their curiosities in isolation. The child’s “veiny rigidity” represents not just a physical reality, but the rigidity of societal structures around sexuality that fail to offer the fluid, adaptive responses children might need in such formative moments.

Michael Anthony Istvan Junior 9/7/24 Michael Anthony Istvan Junior 9/7/24

Wishful Cortical Core

The poem "Wishful Cortical Core" explores the human tendency to seek mystical explanations for shared mental experiences, despite their grounding in biology and media influences. By referencing "lysergic visions," the poem invokes psychedelic imagery and the influence of substances like LSD, suggesting how altered states of consciousness often lead individuals to embrace fantastical interpretations of reality. The phrase "media-coached like flying-saucer UFOs" highlights how popular culture and mass media shape these visions, subtly directing people toward specific cultural icons or experiences, such as UFO sightings, which became widespread only after media popularized them. The reference to Janis Joplin and paisley patterns alludes to the 1960s counterculture, where drugs and music intertwined to fuel a collective yet chemically influenced search for meaning.

The poem then pivots from this media-driven imagery to emphasize the biological similarity between human brains, describing them as "star-stuff riffs on a neurochemical theme." Here, the poet reminds us that much of what we experience, including mystical visions, can be traced back to the brain’s common structure and chemical processes. The shared nature of these experiences, rather than pointing to supernatural or "woo-woo" realms like astral planes, is rooted in the neurochemistry all humans share. The poet asks why people tend to leap toward metaphysical or supernatural explanations when such commonality is easily accounted for by our shared biology.

In essence, the poem critiques the human inclination to romanticize or mystify shared experiences that can be scientifically explained. It challenges the notion that collective psychedelic or spiritual experiences imply access to otherworldly planes, suggesting instead that these experiences are products of our biological makeup and cultural conditioning. The poem provokes readers to reflect on why we often prefer fantastical explanations over grounded scientific ones, even when the latter are sufficient to explain the phenomena.

psychedelic experiences, shared consciousness, media influence, brain chemistry, biological commonality, supernatural explanations, mystical interpretations, neurochemistry, cultural conditioning, altered states

Michael Anthony Istvan Junior 9/6/24 Michael Anthony Istvan Junior 9/6/24

Simple Shapes Turned Intergalactic Switchboards

The poem "Simple Shapes Turned Intergalactic Switchboards" critiques humanity’s compulsion to find significance in simple geometric shapes by linking them to extraterrestrial theories. The “duh triangle” in the poem symbolizes the rudimentary triangle, a form we instinctively associate with simplicity and stability in the natural and built world. It evokes the human tendency to elevate such basic shapes into grand designs, exemplified by the piling of stones into the monumental pyramids of Giza. However, the poem turns this focus on the modern obsession with fringe theories, as represented by the excessive consumption of television content that interprets these ancient structures not as human achievements but as the result of alien intervention. The scattering of pyramids globally becomes a convenient narrative for conspiracy theories, which exploit the human desire to transcend cosmic insignificance.

The poem contrasts the historical human drive to create (represented by the ancient pyramids) with the contemporary drive to mythologize, which seeks meaning beyond the earthly. It reflects on how humanity’s intellectual curiosity, once grounded in physical creation and scientific observation, has shifted into a yearning for fantastical explanations. The reference to “too much TV” underscores how media plays a significant role in distorting our view of history and the cosmos, distracting us from the real and tangible achievements of ancient civilizations in favor of speculative, often baseless, narratives of alien intervention. The global fascination with alien communication grids as explanations for these ancient wonders demonstrates humanity’s ongoing struggle to confront its existential triviality without the need for a transcendent "other."

Ultimately, the poem serves as a critique of how modern culture, rather than celebrating the tangible accomplishments of human history, frequently gravitates toward escapism through speculative conspiracies. By contrasting the real and the imagined, the poem invites readers to consider how we construct meaning, not from factual achievement, but from the desire to transcend the ordinary and embrace the fantastic, however improbable.

conspiracy theories, pyramids, alien intervention, geometry, ancient civilizations, escapism, human achievement, media critique, cosmic insignificance, historical creation

Michael Anthony Istvan Junior 9/4/24 Michael Anthony Istvan Junior 9/4/24

If It Were Not So Organically Human

"If It Were Not So Organically Human" critiques the modern tendency to embrace absurd conspiracy theories while ignoring very real and consequential global issues. The poem juxtaposes two worlds of thought: the "frothing" over fabricated narratives—such as "pizzagate," "chemtrails," and "reptilian flat Earth" conspiracies—against the actual, undeniable realities of state violence and corporate malfeasance. The conspiracies mentioned, which have captured the imaginations of certain groups, represent a form of escapism, a diversion from addressing pressing, tangible issues like drone strikes on hospitals and the unchecked power of corporations that monopolize seed patents while poisoning the environment with sugar and pesticides.

The poet cleverly suggests that such distraction might seem almost orchestrated, as if the focus on fantastical plots is intentionally designed to keep people from questioning and acting upon the real, oppressive forces shaping the world. Yet, the title—"If It Were Not So Organically Human"—indicates that this diversion is not part of a calculated conspiracy, but rather a fundamental human flaw. The irony is that, instead of grappling with the harsh truths of state and corporate corruption, individuals latch onto farcical ideas, driven by a psychological need for simpler, more digestible explanations for their anxieties.

In this way, the poem critiques not only the proliferation of conspiracy theories but also the failure of collective awareness. By choosing to focus on fictitious global conspiracies, society allows itself to overlook or tolerate the real machinations of power that shape its fate. The poem’s structure, moving from the imaginary to the real, creates a stark contrast between the bizarre yet captivating fantasies and the cold, impersonal violence of governmental and corporate entities. It calls for a realignment of focus—away from the outlandish and toward the urgent and true.

conspiracy theories, escapism, state violence, corporate control, environmental destruction, psychological diversion, pizzagate, chemtrails, reptilian, human nature, societal critique.

Michael Anthony Istvan Junior 9/3/24 Michael Anthony Istvan Junior 9/3/24

Emphasis on the "Homo"

"Emphasis on the 'Homo'" grapples with the complexities and ambiguities of human sexuality, particularly the discomfort and latent curiosities surrounding male anal pleasure and its evolutionary underpinnings. The poem opens with a visceral image of "rectal gelatin after sex," a vivid and graphic depiction that immediately centers the reader's attention on the physical aftermath of intimate encounters. The term "mucus jelly sharted onto wall and floor" not only shocks with its crude imagery but also serves to highlight the often unspoken or taboo aspects of sexual experiences that deviate from heteronormative expectations.

The second stanza's mention of "postnut piss" and the caution to "guard the o-ring with tissue before bearing down" provides a raw and candid glimpse into the mundane yet specific details of male bodily functions following sexual release. This depiction challenges the sanitized narratives of sex, especially in contexts that involve anal penetration or related activities, often dismissed or considered shameful in many cultures. By focusing on these moments, the poem disrupts conventional discourse, pushing the reader to confront their own preconceptions about sexuality, hygiene, and the body.

The concluding lines introduce a provocative inquiry into evolutionary behavior: "so that has nothing / to do with any history of simians / taking mating males from behind?" Here, the poet draws a speculative connection between human sexual practices and potential behaviors observed in our evolutionary relatives, the primates ("simians"). The question suggests a possible continuity or evolutionary echo in human sexual behaviors that might be derived from non-reproductive, dominance-establishing acts observed in the animal kingdom, especially among certain primate species. By doing so, the poem invites a contemplation of whether aspects of human sexuality that are often stigmatized or marginalized could have roots in broader evolutionary and biological frameworks.

"Emphasis on the 'Homo'" thus serves as a complex exploration of human sexuality's undercurrents, merging graphic realism with speculative evolutionary psychology. It challenges readers to reconsider the boundaries of what is deemed natural or acceptable in sexual expression, opening a dialogue about the biological, social, and psychological dimensions of human desire.

Overall, this piece is about the visceral, almost primal connection between human sexual experiences and our evolutionary past, focusing on the raw imagery and the provocative inquiry it raises. "Emphasis on the 'Homo'" thrusts us into a stark, unfiltered portrayal of post-coital reality: the "rectal gelatin after sex" and "mucus jelly sharted onto wall and floor" evoke a physicality that is both raw and unapologetically human. The language used here captures the messy aftermath of intimacy, bringing to light the body's functions that are often hidden or sanitized in discourse. The reference to "postnut piss" and the careful guarding of the "o-ring with tissue" suggest a learned behavior, an almost ritualistic response to the body's natural expulsion processes post-intercourse. This brings forth a striking question—one that challenges our understanding of human sexuality and its roots: does this deeply corporeal experience have "nothing to do with any history of simians taking mating males from behind?" The poem pushes us to consider the biological and perhaps evolutionary connections between human sexual behaviors and those observed in our primate relatives. By invoking "simians" and their mating practices, the piece suggests a continuity or a shared lineage of sexual expression that spans back to our earliest ancestors. The poem juxtaposes contemporary sexual realities with primal instincts, blurring the line between civilized norms and animalistic drives, ultimately questioning the extent to which our behaviors are influenced by our evolutionary heritage.

An exploration of human sexuality and evolutionary psychology, "Emphasis on the 'Homo'" confronts societal taboos surrounding male anal pleasure and challenges notions of what constitutes natural sexual behavior.

human sexuality, male anal pleasure, evolutionary psychology, taboo, human behavior, body functions, primate behavior, societal norms, natural behavior, sexual stigma, biological evolution.

Michael Anthony Istvan Junior 9/2/24 Michael Anthony Istvan Junior 9/2/24

Sandcastle Basement

"Sandcastle Basement" delves into the transient nature of human endeavors, particularly the creative and artistic pursuits that people often undertake in an attempt to find meaning or permanence. The poem opens with an evocative image of a "smokescreen of our artistic fury," suggesting that creative efforts often act as a diversion or a facade that obscures deeper existential fears. This "fury" reaches its peak in moments of ecstatic immersion, akin to the intense focus required during a "tennis rally nudging our limits." Here, the rally metaphor implies both the relentless back-and-forth of creative effort and the continual pushing of boundaries in search of some elusive fulfillment.

The poem’s pivot, however, comes with the introduction of a "heart murmur," which represents a subtle yet persistent awareness of life's impermanence—a reminder that no amount of creation or artistic expression can ultimately shield us from "sublivion." This invented term appears to combine "sublime" and "oblivion," hinting at a paradox where human attempts at transcendence (the sublime) are inevitably swallowed by the void (oblivion). This notion captures the futility embedded in the human condition: the recognition that all efforts, regardless of their beauty or intensity, are destined to disintegrate over time.

The final lines of the poem, "that all shrines (to our egos or otherwise) crumble in the entropic hourglass," reinforce the theme of decay and the unstoppable march of entropy. The "shrines" symbolize the structures—both literal and metaphorical—that humans erect to commemorate themselves or their achievements. Yet, the imagery of the "entropic hourglass" suggests that these monuments, much like sandcastles, are inherently fragile and subject to the ravages of time. The poem, therefore, serves as a meditation on the fleeting nature of existence and the human desire to find stability and meaning in a universe governed by chaos and decay.

"Sandcastle Basement" ultimately reflects a deep-seated skepticism about the capacity of art—or any human endeavor—to provide lasting solace against the fundamental uncertainties of existence. It invites readers to confront the uncomfortable truth that, despite our greatest efforts, everything we create is merely a temporary defense against the inevitable erosion of time.

Let's workshop this poem about the existential futility of artistic creation, blending metaphysical musings with vivid imagery. "Sandcastle Basement" opens with a compelling metaphor: our "artistic fury" serves as a "smokescreen," suggesting both the intensity and the potential illusion of creative endeavors. This fury is "thickest when ecstatic," likened to the tension and rhythm of a "tennis rally," a game where players push each other to their limits, much like how we might push ourselves creatively. Yet, behind this passionate pursuit lies a stark realization—a "heart murmur" of doubt—that no creation, no matter how profound or beautiful, can ultimately "anchor us against sublivion." The term "sublivion" either means a tweak on oblivion (capturing the idea that, although we are snuffed out, the energy goes one and has been before) or might be a clever combo of "sublime" with "oblivion," encapsulating the duality of the human experience: our creations may reach sublime heights, but they are always shadowed by the inevitability of decay. The poem concludes with a poignant reflection that all "shrines"—whether to "our egos or otherwise"—are destined to "crumble in the entropic hourglass." This final image not only underscores the temporality of our efforts but also evokes the inexorable march of time that reduces even the grandest achievements to dust. Through its interplay of vigorous action and quiet introspection, the poem poignantly captures the paradox of human creativity—our drive to leave a mark in a universe indifferent to permanence.

A meditation on the impermanence of artistic and human endeavors, "Sandcastle Basement" explores the futility of seeking stability in a universe governed by entropy and decay.

impermanence, artistic endeavor, existential futility, entropy, human condition, creative expression, decay, transience, sublime, oblivion, meaning, existential uncertainty.

Michael Anthony Istvan Junior 9/1/24 Michael Anthony Istvan Junior 9/1/24

Jesus Piece

"Jesus Piece" uses stark and provocative imagery to critique the hypermasculine bravado and performative aggression prevalent in certain segments of rap music. The poem begins with the boastful assertion, "I never brag, nigga," a line that immediately sets a confrontational tone. This opening statement is paradoxical, as the very act of declaring one’s refusal to brag constitutes a form of boasting in itself. This irony is deepened by the comparison to a judge's final judgment, evoking a sense of irreversible authority and power. The reference to a judge "whose own toddler had been / reamed and creamed through" is deliberately jarring, juxtaposing the veneer of authority with a deeply personal, traumatic image that challenges the reader's comfort and expectations. This imagery suggests a moral contradiction, possibly reflecting the internal conflicts within figures who publicly project strength and dominance while privately grappling with vulnerability and loss.

The poem’s structure mirrors the dissonance between public persona and private reality, transitioning from this intimate, almost confessional opening to a bombastic celebration of material wealth and status. The mention of a "megahit" emphasizes the cultural and commercial success achieved through such displays of bravado, while the comparison to Mussolini underscores the extremity and potentially fascistic overtones of such declarations. The use of "bombast unmatched" conveys the over-the-top nature of the lyrics, suggesting that the performative aggression and ostentation are not only part of the persona but are amplified to a near-parodic extent. The subsequent line, "ops / stay hatin on a nigga’s platinum!" brings the focus to the antagonistic relationships that often fuel these performances, with "ops" (short for opposition or enemies) representing those who challenge or resent the speaker’s success.

The juxtaposition of violent imagery and consumerist pride encapsulates the contradictory nature of this hypermasculine culture—one that celebrates both survival against odds and the conspicuous consumption that marks success in this milieu. The "platinum" here symbolizes more than wealth; it is a marker of social status, artistic achievement, and defiance against detractors. The poem critiques how this materialistic and combative stance becomes a defining characteristic, overshadowing more nuanced or vulnerable expressions of identity. It implicitly questions the cost of such performative aggression, hinting at the underlying insecurities and traumas that might drive someone to adopt such a façade.

In "Jesus Piece," the title itself serves as a multifaceted symbol. On one hand, it references a piece of jewelry commonly associated with the hip-hop community, symbolizing faith, success, and cultural identity. On the other hand, it invokes the image of Jesus Christ, contrasting the themes of sacrifice, humility, and suffering with the self-aggrandizement and performative masculinity of the rap persona. This duality highlights the tensions within contemporary expressions of identity, where spiritual symbols are repurposed for secular status and power, raising questions about authenticity, faith, and the commodification of cultural icons in modern society.

hypermasculinity, rap culture, performative aggression, irony, materialism, social status, cultural critique, identity, consumerism, juxtaposition, provocative imagery, hip-hop symbolism, commodification of icons, authenticity in modern society.

Michael Anthony Istvan Junior 8/31/24 Michael Anthony Istvan Junior 8/31/24

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 37)

The text is a collage of fragmented thoughts and images that traverse themes of existential angst, morality, human behavior, and the search for meaning in a seemingly indifferent universe. It presents a kaleidoscope of scenarios and reflections that collectively explore the human condition’s darker and more absurd aspects. From “tumbling a toddler in the dryer for a five-count of cruel Mississippis” to “tribesmen puzzle over whites with pocket pussies,” the text juxtaposes violent, unsettling imagery with moments of introspection and philosophical musings. This technique not only shocks the reader into a heightened state of awareness but also invites them to ponder the deeper implications of each line.

The text’s structure mirrors the chaotic and fragmented nature of human consciousness, particularly in the face of existential dread. Lines like “there is life after high school (even if you let your teacher rope you up to his bedpost)” and “suicidal thoughts upon wake up” reflect a raw confrontation with trauma and psychological struggle. Meanwhile, philosophical inquiries such as “if you did not write the novel before retirement, odds are—” and “imagine the weight of consequence if everything really did recur eternally” grapple with the nature of purpose, time, and the significance (or insignificance) of human actions.

The recurring themes of shame, denial, and a yearning for meaning run throughout the text, forming a loose but powerful thread that connects its disparate elements. The piece suggests a world where actions, beliefs, and identities are fluid, often shaped by external pressures and internal conflicts. For example, the lines “ashamed of having the illness” and “disguising your voice, ashamed to call again for helpline reassurance” delve into the human experience of vulnerability and the stigma attached to it. These feelings of inadequacy and the desire to conceal them reveal the fragility of the human psyche when confronted with its limitations.

There is also a distinct exploration of power dynamics and societal norms. The phrase “headcase superpowers injected into mere socks just because you happened to be wearing them on the occasion of what you mistook for success” captures the absurdity of perceived authority or competence based on circumstantial or arbitrary factors. Similarly, “children waking up not knowing what the screams mean” speaks to a fundamental human fear of the unknown and the inherited trauma that shapes our understanding of the world.

The text culminates in reflections on death and the desire for survival, encapsulated in lines such as “death—that plummet to the prebirth blank, to the blackless noncolor a womb sees—spooked her less than the monomania to live.” This juxtaposition of life and death, of nonexistence and the frantic desire to cling to life, underscores the existential tension at the heart of the human experience. The reference to “the casino of cosmic roulette” suggests a universe indifferent to human suffering and ambition, where life and death are merely random occurrences in a vast, unknowable expanse.

Ultimately, the piece presents a bleak yet compelling meditation on existence, filled with moments of dark humor, surreal imagery, and profound insights into the human soul’s complexities. It challenges the reader to confront uncomfortable truths about life, death, and the meaning we impose on both, all while acknowledging the inherent absurdity of these pursuits.

An exploration of existential dread, morality, and human behavior through fragmented, surreal imagery, "tumbling a toddler in the dryer for a five-count of cruel Mississippis" challenges readers to confront uncomfortable truths about life, death, and meaning.

existential angst, morality, human behavior, existential dread, surreal imagery, absurdity, power dynamics, societal norms, philosophical inquiry, trauma, human psyche, life and death, cosmic roulette, vulnerability, shame, denial, dark humor.

Michael Anthony Istvan Junior 8/30/24 Michael Anthony Istvan Junior 8/30/24

My Struggles with the Family Fungus

"My Struggles with the Family Fungus" is a deeply personal and graphic narrative that explores the multigenerational transmission of trauma and pathology through the lens of a hereditary fungal infection. The piece unfolds as a memoir-style recounting of the author's childhood experiences with his grandfather's toenail fungus, a condition that symbolizes the pervading sense of decay and dysfunction within his family. The narrative is infused with vivid imagery and dark humor, presenting the fungus as a metaphor for the destructive cycles of poverty, neglect, and substance abuse that afflict the family. The author's descriptive language paints a picture of a life marred by hardship and deprivation, where unsanitary living conditions and a lack of proper hygiene are normalized. The narrative spans several years, detailing the author's own gradual succumbing to the family fungus, a process that parallels his increasing psychological distress and alienation.

As the narrative progresses, the fungus becomes a focal point for the author's obsessive-compulsive behaviors, driven by fear and shame. The condition represents not only a physical ailment but also a manifestation of his internalized trauma and anxieties. His extreme attempts to eradicate the fungus—ranging from home remedies to self-mutilation—highlight his desperate need for control in an environment where he feels powerless. These efforts, however, only exacerbate his condition and contribute to his sense of isolation and mental unraveling. The story also touches on themes of toxic masculinity and familial violence, as the author reflects on the impact of his father and grandfather's behaviors, which oscillate between negligence and aggression.

The narrative is not just a literal recounting of events but also a metaphorical exploration of inherited trauma and the often cyclical nature of family dysfunction. The author's internal monologue reveals a deep-seated fear of becoming like his predecessors, and his actions are driven by a desire to break free from the destructive patterns he has inherited. Yet, his repeated failures and escalating behaviors suggest a profound entrapment within these cycles, mirroring the tenacity of the fungal infection itself. The story culminates in an act of self-harm, which serves as a cathartic but ultimately futile attempt to purge himself of the physical and metaphorical infection that has plagued him for so long.

Darkly humorous narrative that explores the author's battle with a hereditary fungal infection as a metaphor for generational trauma and family dysfunction. The story delves into themes of inherited pathology, psychological distress, and the desperate quest for control. Generational trauma, family dysfunction, psychological distress, hereditary illness, obsessive-compulsive behavior, self-harm, toxic masculinity, poverty, neglect, substance abuse, childhood trauma, dark humor, memoir-style narrative.

Let's workshop this piece about the entanglement of familial history and inherited trauma, seen through the lens of an insidious toenail fungus that threads its way through generations. The narrative begins with a vivid, visceral account of the narrator's childhood, where Grandpa bribed them with obsolete arcade tokens to "play undertaker" to his grotesque, fungus-riddled toenails. This grotesque ritual, taking place in a home marred by poverty and neglect, is depicted in almost absurd detail: brittle, crumbling toenails, and the stale, yeasty smell that lingered on their fingers like a curse. The narrator's fear of the fungus takes root in these early years, cultivated by a dramatic intervention from Grandma, who drags them outside to scrub their hands with kerosene in a kind of frenzied, infernal baptism. This moment plants a seed of fear that lies dormant but never vanishes, much like the fungus itself.

As the story unfolds, we see the narrator grow up amidst familial chaos—divorce battles that are more like literal brawls, a stint in a foster home that feels more like a prison sentence, and a mother who falls into the arms of a man living in a pay-by-the-week motel room. The fungus serves as both a literal and metaphorical thread that ties these traumatic experiences together, representing not just a physical ailment but a deeper, inherited malaise. The narrator's father, a deeply troubled man living out of a car and appearing suddenly on a school bus with bare, fungus-infested feet, becomes a figure of simultaneous shame and sympathy. This incident reignites the narrator's fear of the fungus, which becomes an obsessive, almost superstitious fixation.

The narrative is punctuated by grotesque humor and dark, absurd moments—such as the narrator's father's drunken antics, or the bizarre encounters with figures like Paul, the drinking buddy with a 'trumpet lip' perfectly suited for chugging cans. Yet, beneath this dark humor lies a deep vein of trauma and unresolved psychological pain. The narrator’s struggle with the family fungus, a grotesque symbol of inherited dysfunction, leads to increasingly desperate measures. We witness the narrator's spiral into a full-blown obsession, culminating in self-mutilation as they attempt to rid themselves of the affliction once and for all. The narrative crescendos into a scene of horrifying clarity as the narrator, in a frenzy of rage and despair, chops off an infected toe with rusty loppers—a desperate act of self-purification that only deepens their sense of isolation and alienation.

Throughout, the fungus operates as a metaphor for generational trauma—an unwanted inheritance that spreads silently and inexorably, manifesting in both physical and psychological scars. The narrative explores themes of poverty, family dysfunction, and the struggle for personal agency amidst a backdrop of inherited suffering. It raises questions about identity, resilience, and the lengths one might go to in an attempt to sever ties with a past that seems doomed to repeat itself. The ending, a bleak but defiant note of ambiguity, leaves us pondering the ultimate cost of such a struggle—both in terms of what is lost and what, if anything, might be gained.

Michael Anthony Istvan Junior 8/29/24 Michael Anthony Istvan Junior 8/29/24

Baby Needs a New Pair of Shoes

"Baby Needs a New Pair of Shoes" delves into existential themes, exploring the paradoxical human instinct to cling to life despite the inevitability of death. The poem opens with a stark meditation on death, described as a "plummet / to the prebirth blank," evoking a return to a state of nonexistence akin to what is imagined before birth. The use of "blackless / noncolor a womb sees" employs a powerful visual metaphor to emphasize the unknowable nature of both prebirth and post-death states, suggesting a continuity of nothingness that frames human existence. This imagery effectively communicates the void that both precedes and follows life, challenging traditional conceptions of life and death as opposites; instead, they are presented as points within the same spectrum of non-being.

The poem then shifts focus from death to the fear that most unsettles the protagonist: not death itself, but the "monomania / to live." This phrase suggests a single-minded obsession or fixation on survival, hinting at an irrational, almost animalistic compulsion to continue living despite life's inherent suffering and futility. The metaphor of the "rabid grip" portrays this desire as something uncontrollable and primal, contrasting sharply with the abstract, almost serene contemplation of death. This compulsion is framed as a desperate attempt to hold onto something transient and inherently unstable—"disunity"—reflecting a human condition marked by fragmentation and a lack of coherence.

The poem’s dark climax arrives with the visceral image of parents drowning their own children "for one more gulp of airtime." This hyperbolic depiction of survival at all costs highlights the brutality of the instinct to live, where even the most sacred of bonds, that of a parent and child, can be sacrificed in the existential struggle for existence. The metaphor of the "casino of cosmic roulette" reinforces the randomness and unpredictability of life, likening human existence to a game of chance where the stakes are high and the outcomes are uncertain. It suggests that our desperate clinging to life is akin to a gambler’s last-ditch effort to win against the odds, an ultimately futile endeavor driven by a misguided hope for control over an uncontrollable universe.

Thus, "Baby Needs a New Pair of Shoes" confronts the reader with uncomfortable truths about the human condition, questioning the rationale behind our fear of death and our equally irrational desire to live at any cost. By juxtaposing serene imagery of death with stark portrayals of life’s desperate instincts, the poem invites readers to reflect on the nature of existence, the inevitability of death, and the often self-destructive lengths to which humans will go to avoid confronting their mortality.

existential themes, fear of death, human condition, instinct to survive, existential paradox, life and death, cosmic roulette, monomania, fragmentation, survival instinct, poetic meditation, human mortality, casino metaphor.

Michael Anthony Istvan Junior 8/28/24 Michael Anthony Istvan Junior 8/28/24

Dry Hump Bully

The poem "Dry Hump Bully" captures the tumultuous experience of early adolescent sexuality, exploring the tensions between emerging desires and social condemnation. Set against the backdrop of a fifth-grade classroom, the poem's language suggests a collision between innocence and burgeoning eroticism, creating a potent contrast that underlines the confusion and anxiety of this developmental stage. The opening lines, "nostrils / sniffing something new," metaphorically convey the awakening of sexual awareness among young classmates. This "erotic frequency," resonant even in the "playscape tunnels," signifies a shift from childhood play to the recognition of sexuality, a shift both thrilling and disturbing.

The repeated chant of "Slut! Slut!" serves as a form of social policing, wherein the children, perhaps unconsciously, enforce cultural norms regarding sexuality. This chant, however, is more than mere name-calling; it reveals the precarious boundary between fascination and fear of the unknown. The playground—a space traditionally associated with innocence—is transformed into a site of both discovery and cruelty, where emerging sexual identities are met with scorn and ridicule. The children’s reaction, driven by both curiosity and the nascent shame surrounding sexuality, underscores the poem's exploration of early sexual socialization.

Amidst this public humiliation, the poem introduces a contrasting inner world, where the protagonist finds "relief" amidst "the crust / of midnight tears." This relief hints at a complex internal reconciliation, where the external shame is tempered by a newfound self-awareness. The use of imagery such as "long rising / like the cunt reek of plushies" starkly juxtaposes the visceral with the emotional, linking the physicality of early sexual curiosity with the psychological processes of coming to terms with one's desires. The reference to plush toys, objects of childhood affection, now tinged with an adult taboo, suggests a transitional state between innocence and experience.

The final line, "now drawn into alignment," indicates a moment of clarity or acceptance, where internal suspicions about one’s sexual self find validation, even if through painful social encounters. This alignment is not necessarily peaceful or positive; it is fraught with the same tension that pervades the entire poem. Yet, it represents a critical moment of self-understanding, a painful but necessary part of growing up. "Dry Hump Bully," therefore, not only captures the specific cruelty of childhood but also delves into the universal experience of coming to terms with one’s sexuality amidst societal expectations and stigmas.

Michael Anthony Istvan Junior 8/27/24 Michael Anthony Istvan Junior 8/27/24

Contrapuntal Daddy

"Contrapuntal Daddy" is a complex exploration of the interwoven themes of erotic desire, moral consciousness, and paternal instincts, structured within the context of DDLG (Daddy Dom/Little Girl) dynamics, a concept often associated with power exchange in sexual relationships. The poem employs a contrapuntal structure, where contrasting emotional currents—carnal desire and paternal protectiveness—are placed in tension with one another, akin to the interdependent yet independent melodies in a musical fugue.

The poem opens with the speaker's admission of a powerful erotic attraction toward a high school jazz starlet, signified by the phrase "DDLG desire," which immediately situates the reader within the controversial terrain of age-disparate desire and power dynamics. The metaphor "inseminating octaves" not only emphasizes the intensity of the speaker's lust but also evokes a musical imagery that aligns with the starlet's identity as a jazz musician. This dual reference to both physical and artistic creation complicates the speaker’s emotions, suggesting that his desire is both creative and destructive.

However, this rising desire is abruptly interrupted by an "inner light," a moment of self-realization or perhaps divine intervention, which halts the speaker’s violent fantasy of strangulation—a symbolic act that could be interpreted as an extreme manifestation of control or dominance inherent in DDLG dynamics. The phrase "astral prayers" to her father, which the speaker paradoxically addresses to himself as a father, introduces a layer of introspection and moral complexity. This moment of reflection suggests a rupture in the speaker’s identity: he is simultaneously the desiring subject and the protective father figure, creating a profound internal conflict.

The invocation of "telepathy" and "astral prayers" indicates a metaphysical dimension to the speaker’s turmoil, where he seeks to reconcile his base desires with his higher moral duties. The repetition of "Protect that little girl" serves as both a command and a plea, blurring the lines between the speaker's own paternal instincts and his recognition of the girl's vulnerability. This repetition underscores the speaker's struggle to align his actions with his moral compass, highlighting the dissonance between his role as a father and his inappropriate desires.

The poem’s brevity and its fragmented structure reflect the disjointed nature of the speaker’s thoughts, as he oscillates between his conflicting roles. The use of the term "contrapuntal" in the title is particularly significant, as it draws from a musical term that describes the technique of composing with two or more independent melodies that harmonize when played together. This not only underscores the duality of the speaker’s internal conflict but also suggests that these opposing desires—erotic and protective—are inextricably linked, forming a complex and unresolved emotional and ethical harmony.

"Contrapuntal Daddy" is a nuanced exploration of desire, power, and the complexities of the father-daughter relationship. Through its contrapuntal structure, the poem reveals the speaker's internal conflict between his desires and his conscience. The themes of protection and self-preservation are central to the poem, suggesting that the speaker's desires may be rooted in a longing for childhood innocence. By examining the implications of the speaker's internal conflict, the poem offers a thought-provoking exploration of human nature and the complexities of desire.

Michael Anthony Istvan Junior 8/23/24 Michael Anthony Istvan Junior 8/23/24

Amouage's Silver Oud

"Silver Oud" is an intricate exploration of a fragrance that combines the traditions of Western and Eastern perfumery with a contemporary edge. The author presents a thorough analysis of Amouage’s Silver Oud, emphasizing its unique position in the niche fragrance world as a composition that defies mass appeal in favor of artistic expression. The discussion begins with a reflection on Amouage’s creative trajectory under the direction of Renaud Salmon, compared to his predecessor Christopher Chong. The piece explores the skepticism surrounding Salmon's potentially commercial focus versus Chong's more avant-garde approach. The central focus, however, is on Cécile Zarokian's creation of Silver Oud, which is positioned as a fragrance that challenges conventional sensibilities with its dark, smoky, and complex profile.

The fragrance is characterized by a blend of earthy and animalic notes, including cypriol, patchouli, Assam agarwood, castoreum, and ambrarome, creating a scent profile that evokes images of decay, existential darkness, and the inevitable cycle of life and death. The author describes the scent's opening with a raw fecal note, likening it to compost rather than something offensive, which sets the tone for its earthy, animalistic undertones. Silver Oud's composition is noted for its ability to evoke both sensory and metaphysical experiences, drawing parallels to existential themes similar to those found in Stendhal’s novel "The Red and the Black." The novel's themes of authenticity versus social conformity are mirrored in the fragrance's defiance of mainstream tastes and its emphasis on raw, unfiltered naturalism.

Silver Oud is presented as more than a mere olfactory experience; it is an artistic statement about embracing mortality and the transient nature of life. The author contrasts this fragrance with others in the niche market, such as Zarokian's Ani and Nishane’s Unutamam, highlighting its ability to evoke stark, almost confrontational imagery. The fragrance is ultimately portrayed as a memento mori in scent form, with its smoky, woody, and ambery notes serving as a reminder of life's impermanence and the omnipresence of death. This existential framing elevates Silver Oud beyond a typical fragrance, positioning it as a philosophical reflection rendered in olfactory art.

Michael Anthony Istvan Junior 8/21/24 Michael Anthony Istvan Junior 8/21/24

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 36)

A fragmented meditation on the fractured and often dark realities of contemporary existence. Through a series of disjointed and seemingly unrelated images, the poem explores themes of existential despair, social decay, and the pervasive sense of loss that permeates modern life. The title suggests that these grim realities are not new phenomena brought into existence by articulation but rather enduring truths that are revealed or made visible through the act of naming.

The imagery of "hitchhiking hookers" and "seeking out broken-down cars to hitchhike next to" immediately immerses the reader in a world of transient, marginalized existence. These figures symbolize those who live on the fringes of society, perpetually in motion but without a clear direction or destination. The poem's shifting scenes—from "trying to fall asleep on concrete" to "living in the woods at the end of your old street"—reflect a sense of displacement and rootlessness, suggesting a journey not just through physical spaces but through emotional and psychological landscapes as well.

Interspersed with these vivid snapshots are reflections on the human psyche and self-perception. The lines "intellectual humility is crucial for wishful-meaning projectors / like ourselves" and "personality diagnoses floor us with their accuracy— / yes, even when randomly generated from some sham internet quiz" highlight the human tendency to search for meaning in randomness and to find profound truths in superficial or even fraudulent contexts. This underscores a broader commentary on the human condition: the constant struggle for identity, validation, and understanding in a world that often provides more questions than answers.

The poem also touches on themes of grief and trauma, particularly in the lines "knowing to stay away from your wife, / who just lost the baby, so that she may / read your distance as grief." This moment captures the complex interplay of personal pain, emotional distance, and the ways in which individuals navigate and express their suffering. Similarly, the mention of "abuse leaving you muddled as to your sexuality" speaks to the long-lasting impacts of trauma on one's identity and sense of self.

Economic and social critiques are woven throughout the poem, evident in references to "overfeeding kids with junk, to be the source of their satisfaction" and "six-digit prices for acknowledged forgeries." These lines reflect a critique of consumerism, inequality, and the commodification of both physical and emotional sustenance. The notion of "migratory skid rows" and "housing crises in the age / where the most profound events / happen within the home" further emphasizes the instability and precariousness of contemporary life, where even the concept of home is fraught with tension and uncertainty.

Ultimately, the poem offers a bleak yet poignant reflection on the myriad ways individuals cope with existential dread, societal collapse, and personal grief. The varied, sometimes jarring images combine to create a mosaic of contemporary suffering, suggesting that these struggles are interconnected and pervasive, merely "brought out of hiding" through the poem's evocative language and stark imagery.

existential despair, social decay, marginalization, trauma, grief, consumerism critique, identity struggle, commodification, contemporary suffering, displacement, psychological landscapes, social instability, rootlessness, modern existence.

Michael Anthony Istvan Junior 8/19/24 Michael Anthony Istvan Junior 8/19/24

Nishane's Sultan Vetiver

The write-up on "Sultan Vetiver" serves as an in-depth analysis of a niche fragrance from Nishane, a Turkish perfume house. The author explores how the scent, characterized by its dominant vetiver note, aligns with traditional notions of masculinity, reminiscent of iconic figures like James Bond. The fragrance is complex, employing four distinct types of vetiver—Brazilian, Javanese, Haitian, and Bourbon—each contributing a unique profile that ranges from herbaceous and citrusy to smoky and woody. The discussion underscores how "Sultan Vetiver" stands out among other vetiver-based fragrances, particularly for its unapologetically strong and unadulterated use of the note.

The text critiques the scent's initial grassiness, which some may find overpowering or at odds with the regional authenticity it seeks to evoke, especially considering its inspiration from Indian vetiver traditions. However, the author suggests that this intensity balances out over time, revealing deeper, woodier nuances. The perfume's composition is praised for its complexity, which includes not just vetiver but also accents of tea, honey, and absinthe, contributing to a dynamic and sophisticated olfactory experience.

The author also touches on the broader context of fragrance culture, noting the divisive role of synthetics like Amber Woods, which enhance the scent's longevity and projection but may be perceived as overwhelming by some. Despite these potential drawbacks, "Sultan Vetiver" is lauded as a "statement-making" fragrance that challenges conventional Western ideals of perfumery, offering a blend of Middle Eastern opulence and French refinement. Ultimately, the piece positions "Sultan Vetiver" as a reference point in vetiver perfumery, appealing particularly to those who appreciate bold, unembellished scents.

Meta Description:

This analysis of Nishane's "Sultan Vetiver" delves into its complex composition, highlighting its bold use of four distinct types of vetiver. The fragrance is examined in the context of traditional masculinity and Middle Eastern perfumery, offering insights into its divisive yet sophisticated nature.

Keywords:

Sultan Vetiver, Nishane, vetiver fragrance, traditional masculinity, Middle Eastern perfumery, complex scent composition, niche fragrance, Amber Woods, fragrance culture, bold perfumes

Michael Anthony Istvan Junior 8/18/24 Michael Anthony Istvan Junior 8/18/24

Milk

This poem, "Milk," explores the contentious and often contradictory terrain of reproductive rights, legal responsibilities, and societal ethics. By juxtaposing the legal permissibility of abortion with the absence of a corresponding right for men to opt out of child support, the poem highlights the gendered asymmetries in how society allocates reproductive responsibility. The rhetorical question posed at the poem's climax—why men cannot opt out of child support—invites a critical examination of the ways in which legal systems enforce paternal obligations, even as they grant women significant autonomy over reproductive decisions.

The reference to Innuits leaving "surplus mouths on ice drifts" serves to underscore the cultural relativity of moral norms. This allusion reminds the reader that ethical frameworks around life and death, far from being universally fixed, are deeply influenced by historical, environmental, and cultural factors. By evoking a practice that is morally anathema in many contemporary societies, the poem compels us to confront the often uncomfortable reality that our own moral judgments are similarly contingent and context-dependent.

The poem also makes a stark comparison between the legal rights afforded to a fetus and the everyday cruelty inflicted on animals, specifically cows. This contrast not only points to societal hypocrisies but also raises questions about the selective nature of empathy and moral concern. The fetus, which "feels no pain," is legally protected to a degree that the poem suggests is disproportionate when compared to the routine suffering of sentient beings in industrial agriculture. This comparison challenges the reader to consider the inconsistencies in societal attitudes toward life and suffering, questioning why certain lives are deemed worthy of protection while others are systematically exploited.

In its brevity, "Milk" distills complex legal, ethical, and philosophical debates into a series of sharp juxtapositions, provoking reflection on the intersections of gender, power, and morality. The poem does not offer easy answers but instead urges the reader to grapple with the paradoxes and inequalities that characterize contemporary discussions of reproductive rights and responsibilities.

reproductive rights, legal responsibilities, gender asymmetry, cultural relativism, societal ethics, moral inconsistency, autonomy, paternal obligations, animal rights, contemporary poetry.

Michael Anthony Istvan Junior 8/17/24 Michael Anthony Istvan Junior 8/17/24

MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 35)

The assortment of fragments presented in this sequence unfolds a kaleidoscopic view of modern human experience, from the intensely personal to the broadly societal. These pieces—strung together by themes of dissonance, memory, and the body’s visceral realities—capture the chaotic yet interconnected nature of contemporary life. The sequence oscillates between the deeply intimate, such as "the first time they met both said 'I missed you,'" and the broader, more reflective societal commentary seen in "a world approaches... where day-one friends will mock your art."

This exploration of seemingly unrelated moments and thoughts mirrors the fragmented consciousness of the digital age. The snippets delve into the often-ignored or unspoken aspects of existence—be it the brutal truth of bodily functions, the darker corners of human psychology, or the poignant reflections on love, art, and mortality. There’s a continuous tension between the banal and the profound, revealing how closely they intertwine.

The vivid, sometimes unsettling imagery forces a confrontation with the messiness of life, urging readers to look beyond the superficial and to engage with the raw, unfiltered truths of human existence. By highlighting moments like "watching pollywogs sprout legs in the jar" alongside stark phrases such as "hairy mucous-membranes—all of them," the work underscores the simultaneity of growth and decay, beauty and grotesqueness, in the human condition.

Keywords:

poetic fragments, modern human experience, societal commentary, intimate reflections, visceral imagery, digital age, consciousness, love, memory, mortality, body, human condition, grotesque beauty, contemporary poetry.

If it were true what in the end would be gained? Nothing but another truth. Is this such a mighty advantage? We have enough old truths still to digest, and even these we would be quite unable to endure if we did not sometimes flavor them with lies.

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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)

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