“You know,” she said, “it is the critics,
they are the real problem, all holy
and self-proclaimed arbiters of taste,
deciding what is and is not art, as if
God spoke late one night and declared
to each one that he or she and only
he or she would determine what is art.”
I wanted to argue with her, but I
was standing in a gallery where
the signs requested silence, that
and I really had no argument
with what she said, for I knew
that taste was personal, that art
had no hard metrics, this is, this isn’t,
there is no ruler, no gauge, no scale.
Add to that the fact that I
truly love exotic mushrooms, morels,
enoki, the odder the better, and she
finds all fungus disgusting, belonging
in its earthly grave, and though wrong,
it is her taste after all, so there it is.
The screen, a shade of blue you have come to hate,
stares back at you defiantly.
You expected something like this,
though there is never good reason for it.
You check your calendar and clear
the next two days of all non-critical items.
You adjust the chair carefully, for it
will be your home for countless hours,
and you only wish that you could drink
before 5 PM or invoke the “it’s 5 PM somewhere” rule,
but you know your tolerance is limited,
less so in situations such as this,
so you dig in for the long haul.
You know this won’t be the last time
you will face this problem, only the current one,
and you know in the end it will be fine,
so you suppress your anger and frustration
and prepare to do battle, yet again
with the seeming evil demons of Microsoft.
Each morning she looks at the small window in her bedroom, just after the sun has broken the horizon and the lake is set ablaze. Each morning she sees the small boat, its oars resting on the gunwale, dark against the orange water. She never asks how the boat got there, why it stays there, seemingly unmoving. Tomorrow she will awaken and the boat will be gone. She will mourn its absence. Or tomorrow she will not awaken and the boat will be there, and will mourn her absence.
Each morning, as he went out on his walk, he would check the street light pole just down his block. He would carefully read the missing cat and dog posters, pause to think whether he might have seen any of the missing animals. He often wondered how many had been found, the missing notices left to fade in the sun and peel away after enough rain. He knew that some had found new homes, wondered briefly what they might have been escaping, hiding out from their owners. And each morning he scanned the pole to see if anyone had reported him missing, but he was the sort of person no one missed, he knew, and so he continued on his walk.
He lived in a world of acronyms. He hated them. He knew they were ubiquitous and becoming more so. Modern discourse, some said, couldn’t happen without them, since modern discourse didn’t involve people speaking words, but devices interacting. Though how a PDA could be LMAO was beyond him. Still he knew all about FIFO and APR’s, not to mention his interactions with SSA about his SSI. But he knew, above all else, that the reliance on these instruments would always have one fatal flaw, and that was best summed up by the only acronym he thought remotely justified: GIGO, for that was what left everything FUBAR.
This poem begins