Camp Conestoga

Seven glorious summers
spent working
in the dappled embrace
of Anna Page Park.

Save for prevalent poison ivy
and innumerable mosquitoes
it was Xanadu
to both the children and we teens.

Staff intros, group assignments,
name games and the human knot.
Hot dogs roasted over fire
and the woods in all its mystic promise.

All camp games of Octopus
Giants, Wizards, Elves
leaders vs. campers Capture The Flag
Grade D meat "but still edible" for Taco Tuesday.

The trip to the Dam to paint
and play Cat And Mouse
folk songs and ghost stories
hay rides and horseback riding.

Young adults watching over kids
both escaping parents and expectations
relishing a waning freedom
kings and queens of Archery.

A joy so pure and unfettered
unquestionable inclusion for all,
even the tedium of the weekly craft
could not diminish the daily elation.

Camp held endless possibility
adventure and heroism
at every path fork, on every hike
and friendship, for once, near effortless.

But time
erodes all precious things
and camp fell prey to litigation paranoia
and the pitfalls of potential liability.

Ten years gone
Camp Conestoga lives on
in the minds of grown campers
and in the hearts of counselors like me.

Home For The Holiday

Nicole and I went back to Rockford this weekend to visit my folks and spend time with my sister Marta and her husband Nick. Although we don't celebrate Easter per say it's a nice excuse to get together.

As our family has gotten older things have gotten easier. Less drama, less conflict, more conversation, more pleasure from simple company. Not to say it was ever terribly contentious or that it is now incredibly harmonious but as my sister and I turned the corner on and made some headway into adulthood and our folks left the more rigorous aspects of raising us behind them we've settled into something like balance.

All our lives are busy and rich and there are still major life events and challenges to face but after so much time of being a unit a lot of the disputes and irritants have faded. It's become much more important and gratifying to be a part of each others lives, to stay connected, and carve out time when we can. We may not be totally functional, what family is, but through problems and distance we stayed together. And together we move forward.

'My Big Fat Greek Wedding 2' A Review

My Big Fat Greek Wedding 2 is a family comedy, the sequel to the 2002 sleeper hit. Toula(Nia Vardalos) after spending the intervening years raising her daughter, who is about to embark on her collegiate quest, finds herself spending more and more time taking care of her aging parents, at odds with her husband Ian(John Corbett), and back working at the family restaurant she worked so hard to escape. Toula's parents find out their marriage was not actually official which sends the family into chaos.

Vardalos reprising her most famous role is pleasant and pleasing but not as dynamic as her original incarnation. Toula seems to have lost much of the strength and independence she gained in the first film and the character isn't as active in this sequel. Vardalos is more a foil for the other characters and the comedy so some heart is lost as this is not her personal and romantic transformation, she is more of a foil and thus doesn't have as much to do. That all being said Vardalos is a natural gifted performer, she is watchable, and although it is slightly disappointing she doesn't have a bigger part in this story it is enjoyable enough to see her and Toula again. It is incredibly gratifying to see the entire cast return to their roles, looking appropriately and gracefully aged, but there are two main stand outs. Andrea Martin as Aunt Voula brings dynamic energy, heart and humor, a character and a portrayal that has aged beautifully. Bess Meisler as Mana-Yiayia is less crazy and more funny, with a couple moments of potent tenderness.

Although not as focused or romantic as its predecessor it is more fun and funnier. Perhaps slightly contrived and at moments over-the-top it is still a real joy to get to visit these characters again and, briefly, be a part of the family.

Rent It.

A little Madness in the Spring

A little Madness in the Spring
Is wholesome even for the King,
But God be with the Clown --
Who ponders this tremendous scene --
This whole Experiment of Green --
As if it were his own!

-Emily Dickinson

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"When you are discontent, you always want more, more, more. Your desire can never be satisfied. But when you practice contentment, you can say to yourself, 'Oh yes - I already have everything that I really need.'" -Dalai Lama

"Discontent, blaming, complaining, self-pity cannot serve as a foundation for a good future, no matter how much effort you make." -Eckhart Tolle

"It was my dream that I had clenched in a fist of discontent and wouldn't release. But time had now pried every finger open. There is peace in an open and upraised hand that isn't grasping for anything." -Laurel Lea

'City Of Gold' A Review

City Of Gold is a documentary about LA food critic Jonathan Gold. The movie follows Gold as he goes to some of his favorite restaurants, LA locations, at home, and at work. There are also talking head interviews as well as on-site interviews with restaurant owners who were helped by a favorable Gold review.

On the surface the movie is pleasant enough although not original, in the current glut of cooking shows another food program regardless of it's conceit can't discern itself from the culinary entertainment cacophony. But upon some reflection City Of Gold goes from passable to problematic on two major points and a minor third.

First is Gold's reverence for the Los Angeles' culinary industry and the city at large which moves quickly from praise to pretension. He talks not as if it is unique but utterly superior and certainly it is distinct and worthy of exploration but LA has been the subject of countless movies and TV shows both narrative and factual and it is a tired subject for any non-resident. In short the subject matter is exhausted and Gold's ramblings only serve to underline the already perceived egoism of LA denizens.

The second is a bit more murky. All of the restaurants highlighted are ethnic and with Gold as an older white man there is an odd and unstated sense of Gold as the culinary white savior of LA, praising overlooked ethnic restaurants which are then overrun by affluent whites. The trade off of course is that struggling restaurants turn into successes over night but there is something mildly disturbing about this dynamic which the movie does not address.

Third is Gold himself who, although his love of the culinary arts is apparent, engages in some seemingly unhealthy eating habits. And I'm conflicted even to mention it being a bigger guy myself but even so there is, again, something troubling in the age of the obesity epidemic and sky rocketing rates of diabetes that this aspect isn't broached.

Mild enough but with a bitter aftertaste.

Don't See It.

What I'm Good At

I've never been capable of strict originality
wholly new ideas birthed from the
artistic ether
raw in form and substance
rather interpretation
translation
collage and pastiche are my methods
for creative construction
like a gardener who prepares the soil
and nurtures the budding seed
towards growth with attention,
a guide rather than a god,
cultivating purpose out of
bright and potential-filled materials.
Talent needs to be used
and although mine was never
divine conception,
seeing patterns and possibility
in inert inspiration
and crafting some result
has always been my incessant itch,
a weaving rather than a spinning
to make a sum that is greater than its parts.

Play #3

The past month I've been doing rehearsals for a new play I'm directing that'll go up at The Annoyance. The synopsis is: Four women from various backgrounds are stuck slogging it out at an Elgin, IL Blockbuster during its introductory death throws in 2008. Their backstories, perspectives, and ambitions are revealed through alternatively playful and biting discussions of movies and pop culture, volatile customer encounters, romantic interactions, and familial dust-ups. Like Clerks except smart and with women.

I've used the same process that I did with my previous two plays Contention and My Two Sons where I wrote a scenic outline which the cast improvised from, I recorded the audio of the improv, then used that to build a script. With all the rehearsals creating raw-materials completed, this past week I've put in a lot of hours transcribing and editing the script. It's coming together wonderfully and I'm very excited to keep working on it, honing it with the cast, and  put it up in front of people.

Communication

Sometimes the hardest thing can be simply starting the conversation. If you have something that's bothering you, some issue you want or need to talk about, perhaps talk of finances or the future, maybe just minutia, starting the conversation can be difficult.

It is best to start with an expression of basic feeling- the topic that has been on your mind and how you're feeling about it. As trite as it may sound "I" statements work. Being sure of how you feel about a situation and telling another person insures some measure of clarity and purpose as opposed to attacking someone else or making demands which will almost always result in the other person becoming defensive or shutting down.

Picking an appropriate time and place for a conversation that has some kind of emotional stakes is also important. Interrupting an activity or stopping someone before they go somewhere to have a, potentially, intense conversation is an invitation for it to go poorly. Addressing an issue at a convenient time will also allow for further reflection, it is typically unhelpful to bring up an issue immediately in the moment because it has the tendency to come across as lashing out, there's also the possibility that something small, like being bothered about dirty dishes for example, is actually a manifestation of something a bit larger that is actually important. Time allows you to cool down as well as understand what you're actually feeling.

'Communication is key' is a cliche but as I've gotten older I've found that cliche and platitude although possibly eye-roll inducing typically offer some substantial truth. Communication is of fundamental importance not only with romantic relationships but all relationships, yet it still can be incredibly difficult. Everyone knows it but it doesn't make anyone particularly proficient at expressing themselves, only practice can do that.

Back in the Fall I applied to grad school for poetry. This past week I got my fourth and final rejection letter. Although I wasn't very confident I would get into to any of them I still hoped. And this week after I got resolution I found out I was more disappointed than I thought I would be, and a bit lost. It's something that I sat on for a couple days, was bothered by, and eventually something Nicole and I had to talk through. Not only in relation to my personal feelings but what it meant and how it effected our relationship. It was complicated and kind of tough but we're stronger and closer for it. And for me, and I think her too, there was relief in just talking about it. There is an incredible power in sharing thoughts and feelings, solidarity in unburdening fear, diminishment of voiced upset.

'Hello My Name Is Doris' A Review

Hello My Name Is Doris is a dramedy about a 60-something woman Doris(Sally Field) who has lived with and taken care of her ailing mother most of her life. The film opens on the death of her mother with her brother and sister-in-law pressuring her to move out of their formerly shared cluttered Staten Island home. After attending a self help seminar with her best friend Roz(Tyne Daly) she is inspired to mix things up. She begins a convoluted romantic pursuit of her younger co-worker that eventually turns into a friendship as she is semi-ironically accepted by the Brooklyn hipster class.

Sally Field gives an incredibly layered and dynamic performance, vulnerable and funny, emotional and inspirational. The film periodically falls into cliche but Field elevates even the stereotypical moments with both comedic and dramatic resonance. The other stand out is Doris's best friend Roz played by Tyne Daly. Daly's brash affection is utterly compelling to watch, with both heart and humor. Max Greenfield as Doris's love interest John doesn't fair as well, still giving a serviceable performance, but a bit hamstrung by the contrived awkwardness of the script. Stephen Root as Doris's brother comes across as a bit villainous until a wonderfully affecting dramatic scene with him and Field that delivers no comedy but a hefty amount of emotional weight while delivering some much needed back story.

The production design is all functional enough save for the costumes which are a bright spot of artistry. The story itself is the most flawed element of the film. With a conceit and a lead performance so unique its somewhat surprising how rigidly it adheres to rom-com trope with very few surprises coming in the third act. Despite its predictability Field's indelible turn makes the few missteps virtually negligible.

A magnificent lead performance in a somewhat routine narrative.

See It.

A Parable About Rejection

There once was a boy who lived in a village.
The boy's mother and father were tailors and owned a shop.
The shop was very successful and the boy's mother and father were very busy.
They wanted the boy to be a tailor also.
But the boy did not want to be a tailor.
Sewing and pleating and hemming and cutting.
It all bored him.
It was all he knew.
What the boy really wanted to do was be a smithy.
Work metal over a hot forge.
Heat and shape ore dug out of Mother Earth.
Each year the local blacksmith took on an apprentice.
This year the boy begged his parents to put his name in for consideration.
Loving him, they did so.
The time came for all the prospective apprentices to show their potential.
Each boy and girl that wanted to be a blacksmith took turns on the bellows.
Took turns with the tongs.
Took turns with the hammer and the anvil.
All the boys and girls went home and awaited the blacksmith's decision.
The boy was not chosen.

Time passed.
The boy worked in his parents shop mending and patching.
Patching and mending.
Unfulfilled and disconsolate.
One day his mother looked up from her work and spoke to her son.
"I always wanted to be a tailor.
As did your father.
To make fine serviceable clothing
that kept people warm and happy.
Doors were not always open to us.
We went through many struggles
to acquire this shop of ours.
For every disappointment
there is opportunity.
You are only defeated
when you stop seeking."
His mother returned to her work.
Inside the boy seeds of new dreams split
and began to grow.

The Flick

Tonight Nicole and I went to see The Flick, the 2014 Pulitzer Prize winner by Annie Baker, at Steppenwolf. It takes place in a one screen movie theater in suburban Massachusetts, the last theater in the area with a projector that shows film, yet to bow to digital inevitability. The play focuses on three employees and unfolds in an incredibly natural and compelling way with long conversational pauses and gravity given to the actual sweeping up of popcorn and trash. It also utilizes the setting and movie theater environment to launch interesting pop-culture discussions which circle and glance off the characters personal lives, much like how people interact in real life.

The authenticity of the play is absorbing and comforting and all three actors give excellent performances especially Travis Turner as Avery. There is however something very discordant about the second act's two 'high drama' scenes which strike me as Plot with a big P. After spending an incredible amount of time establishing the natural fluid dynamic of the theater and between the characters these two moments of conflict seem very transparent and forced. It seemed to play into the idea that something needed to happen, that just watching these characters interact and get to know each other wasn't enough, and the truth couldn't be further from the truth. Certainly there are people who want something to "happen" but that is because we are conditioned to be that way. We believe stories and entertainment function in a specific way and that is what we expect. But the reality is that good content is good content, value isn't defined by a prescribed narrative framework. And these two pivot points around which the characters were maneuvered, instead of having dramatic potency, felt cheap.

Unarguably a great play with some stellar performances, a definite must see, despite its problematic moments of contrivance.

Rejection

Wanting a thing
is irrelevant,
discipline
and hard work
are needed
when pursuing a goal
or aspiration
but desire
has nothing to do
with attaining,
and although all lives
are rich
with divergent paths
disappointment
is more natural
than triumph,
striving
more common
than succeeding,
but there is something
glorious
in the attempt-
in effort
and dream-reaching
even if they are not grasped
for the road
of happy destiny
is more rocky
than smooth,
faith and perseverance
more admirable
than opportunity or affluence.

Defeat is but a matter of perception,
worth not defined by societal conception.

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"Politics is the art of controlling your environment." -Hunter S. Thompson

"Politics is the art of choosing between the disastrous and the unpalatable." -John Kenneth Galbraith

"I love power. But it is as an artist that I love it. I love it as a musician loves his violin, to draw out its sounds and chords and harmonies." -Napoleon Bonaparte

"Freedom isn't free. It shouldn't be a bragging point that 'Oh, I don't get involved in politics,' as if that makes someone cleaner. No, that makes you derelict of duty in a republic. Liars and panderers in government would have a much harder time of it if so many people didn't insist on their right to remain ignorant and blindly agreeable." -Bill Maher

Happenstance

As part of most iO shows there is a piece in the middle of the night called "The Dream" where an audience member comes up and is interviewed about their day which the improvisers then use as inspiration.

Tonight I interviewed a teacher from Mississippi. I asked her if she had a particularly troublesome student and to describe them. I then asked her his/her first name. She said it was a him but she wouldn't tell me his first name(reasonable). Just for context, to make the improv easier, I said for the sake of this we'll just call him Travis. The woman and her table of friends gasped then burst out laughing. I had guessed the kid's name.

A simple enough thing, random luck, coincidence, and yet. And yet it felt like one of those little pieces of magic that happen every once in a while in improv. One of those moments where everyone sits up and takes notice, where you realize how special and fleeting improv can be. Call it group mind call it telepathy what have you, there are those rare moments when you tap into something beyond simple conversation, something a little deeper than connection.

'10 Cloverfield Lane' A Review

10 Cloverfield Lane is a scifi thriller about Michelle(Mary Elizabeth Winstead) who leaves her husband and on her way out of town gets in a car accident, is knocked unconscious, and awakens in an underground bunker. Michelle's apparent captor and self-proclaimed savior Howard(John Goodman) advises her an attack has taken place, either governmental or extraterrestrial, and they will be hiding out for some time. She meets another survivor Emmett(John Gallagher, Jr.) who corroborates an attack of some kind however Michelle remains skeptical about the circumstances.

The main cast trio give potent performances lead by the layered and powerful portrayal of Winstead as the lead. She is clever and vulnerable, ferocious and desperate. Goodman as the ambiguously motivated hulking heavy is given his biggest role in years which he sonorously and menacingly takes full advantage of, wonderful to see Goodman able to showcase himself fully after a dearth of supporting roles. Gallagher is the relatively understated normal pivot point around which the two other actors turn, his role isn't nearly as showy or complex but provides a vital grounding of the story.

Visually the film is relatively simple as the majority of it takes place in the claustrophobic retro-styled bunker, the music and the decor creepily recall a family sitcom feel, an outgrowth of Goodman's character's clear and possibly ominous eccentricities. Unadorned as it may be it is effective creating a seemingly innocuous but threatening confined environment.

Vivid performances and a taught narrative make for a great piece of entertainment.

See It. 

'Knight Of Cups' A Review

Knight Of Cups is an experimental drama about jaded Hollywood screenwriter Rick(Christian Bale) as he makes his way through an ethereal Los Angeles. Rick drifts through a series of romantic relationships, contends with familial influence, and attempts to lose himself in tinsel town excess. The film has little to no story relying almost entirely on montage and voice over rather than plot and dialogue. More poem than prose. More interpretive dance than performance. An existential Los Angeles fever dream.

The myriad of talented actors contend with a virtually impossible task(portrayal with no script or narrative) with Bale at the top of the list. His character is almost completely neutral and emotionally inert, taking in everything but reacting to nothing. With virtually no dialogue and no transformation to undergo he, like we the audience, are relegated to virtual tourism in the visually rich world he inhabits. The supporting cast fares only slightly better with the vignettes and moving tableaus in which they are positioned. The sole stand outs are Brian Dennehy as Rick's father and Natalie Portman as Elizabeth an ex-lover, both are able to navigate the material with considerably more depth and emotional power than any of their cast mates.

The images and scoring are the true stars of the film, each complimenting the other weaving together to create a lyrical fluid experience. Beautiful, arresting, and singular. The technique however isn't bolstered by the story(or lack there of). With a parade of scantily clad model-thin women almost all correspondingly objectified there is something immature, dated, and regressive about the product as a whole. Overall the film is incomplete and unsatisfying, disappointing because of how much promise is on display.

Ambitious but ultimately unsuccessful.

Rent It.

Missing In Action

MISSING

(2) slices of Sarpino's Italian Sausage Pizza

LAST SEEN

Wrapped gracefully in tin foil and placed gently

upon the top shelf in the fridge, hidden from plain sight.

If You've Seen These Slices:

LostSlicesOf Pizza@gmail.com

A truly tragic event, I'm sure any information would be welcomed by the egregiously aggrieved party.

Alone-In-A-Crowd

And there may be times, perhaps, when the separateness comes back.
A wave of otherness so striking
that you are isolated in a populated room.
And all around groups and conclaves
each with their own unique belonging
circle their smiling faces
and, unawares, revel in their inclusion.
And although there may be friends to your right and left
its as if you are outside looking in.
Alien and Apart.
When this unwelcome seclusion hits
it is best to remember that mood
like the wind
is ever changing,
perception
is not reliable
when lonesome,
and tomorrow
the perennial reset
offers relief,
a new day
devoid of
obstacle.

State Farm

I shot this short a couple months back, it was a fun experience. Turned out well!

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Photo credit AT

Dolores "Lolita" Haze. Also a feminist fashion brand.

"The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible." -Vladimir Nabokov


"I prefer to accept only one type of power: the power of art over trash, the triumph of magic over the brute." -Vladimir Nabokov

"There is only one school of literature - that of talent." -Vladimir Nabokov

"I need you, the reader, to imagine us, for we don't really exist if you don't." -Vladimir Nabokov

Two Of Clubs

A blustery March day
on Virginia Beach
four friends shared
a PBR 12-Pack
as the ocean waves
like a cosmic metronome
broke and broke and broke.

And down the isolated sands
strode a ramblin' man
a southern sage
a vagrant prophet
chapped lips more white
than wonder bread:
Patrick.

We shared our brew
and listened
to Virginia's own
broken-down
Dean Moriarty
falsely predict the card
on the beer-bottle bottle-cap.

He mumbled
and prognosticated,
we offered solace
with our solidarity
and caught a glimpse
of hidden highways
and a hard and haunted road.

Improv Theory

I ran a workshop this afternoon at iO for performers going over a couple, what I hope were, helpful and instructive ideas and exercises. Some of it I've written about here before. Here's a brief summary of some of the salient points.

The "Rules":
Yes, and- When learning improv the "yes, and" dictum is important. Laying the groundwork for support and collaboration. As time passes however this can breed stagnant affability, inert acquiesces, and indecision. The first person that speaks doesn't dictate the scene. Every player has the responsibility to contribute character and content. Sometimes this can manifest itself in conflict, argument, or even saying "no" directly. The only thing that needs to be maintained is emotional integrity, simple agreement is a tool to learn to do improv not a tool of interesting improv.

The Harold- Many people find the form constricting and there always seems to be some ongoing complaint about it. And certainly the cookie-cutter Harold taught to students is constricting and deliberately so. Over time however it becomes clear the Harold is more a style of play rather than a rigid form. Improv by its nature is mercurial, why then wouldn't it's most well known form be malleable? How could it not invariably change over time? Each team should develop their own conception of the Harold and their own style, their own feeling and tone, their own identity. Sometimes that'll reveal itself on its own and sometimes it comes about through experimentation. Deciding on specific openings, themes, and goals before going into a show is a great way to find out what makes a team unique. Some people would call this pre-planning I call it pro-active.

Narrative- There is much talk about spurning plot when discussing "good" improv. But there is a distinction between plot and story and ultimately improv, like all the performing arts, boils down to simple story telling. It can be problematic following what happened but it is incredibly interesting to investigate who it happened to. Characters and their individual stories are what we want to see, the machinations of how they got expelled from school are unimportant, how it affects them is. The deeper we delve into a character's story the more interesting they become and the more we know about them the easier it becomes to make connections with other characters and stories.

Argument- Yelling and conflict for no reason with no context is unwatchable. But antagonism with purpose and emotional stakes is compelling. As long as their is emotional risk involved and the characters have a point of view argument can be a great tool.

Violence- Also a useful tool. As an improv student this is avoided for safety but with experience and trust it can be utilized with great effect. An improv gun is a "bad" improv cliche because it needs to be used, the threat has to have some reality. When teammates are being jerks or playing jerks it behooves their fellow players to bring some justice to the circumstances, a great way to do that is by killing or injuring them.

I ended the workshop by asking the participants to ask themselves why they do improv, why they perform. And whatever the answer to that question may be to take steps to further that purpose. Whether its a career in comedy, strict entertainment, or social change, be specific about goals and take direct action towards them. Improv is a great medium and a great tool but it can lead to the illusion of productivity, a trap to be avoided.

'Zootopia' A Review

Zootopia is a computer animated buddy comedy about a small town rabbit Judy(Gennifer Goodwin) who moves to the big city to become a cop. Her chief doubts her abilities and Judy is assigned parking duties. During one of her shifts she encounters con-artist fox Nick(Jason Bateman) whose pessimistic worldview clashes with Judy's. In order to prove herself Judy takes on a missing-person case and enlists Nick to assist her.

Flawless vocal performances pair with excellent animation to deliver some stellar performances. Goodwin as the hero shines, providing energy, momentum, humor, and heart with Bateman as an indelible foil. The film is filled out with a star-studded cast each bringing both playfulness and assurance.

Other than its stunning rich visuals Zootopia delivers fully with its plot. A fish-out-of-water mystery combo with a shocking amount of tasteful but incisive social commentary. It is engaging and fun, repeatedly addresses and deconstructs numerous aspects of bias, all while losing no momentum with its main narrative who-done-it.

Fresh, invigorating, and inspiring.

Don't Miss It.

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Though not graffiti per say I was struck by the pairing of the words "Adjustable Forms".

"New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture." -Jackson Pollock

"False thinking and false ideologies, dressed in the most pleasing forms, quietly - almost without our knowing it - seek to reduce our moral defenses and to captivate our minds. They entice with bright promises of security, cradle-to-grave guarantees of many kinds." -Ezra Taft Benson

"In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple." -Sol LeWitt

Kralahome

I was a large teen.
Embarrassed by my gut, rolls and double chin.
I hid behind baggy clothes,
volume, bluster, and aggression.
I was forced to confront
my low self image
when presented with my costume
for The King and I's Kralahome-
a skirt.
Held up not by a belt
but by the protrusion of my belly.
At the time
I didn't even swim without a shirt
so a bottom-only outfit
left me angry and exposed.
After lashing out
at my director
and costume designer
who were stunned by my vehemence
and tears
I took the shame between my teeth
and truculently acquiesced
to the fearsome garb.

An adolescent challenge
I over came with almost no grace
but a modicum of courage.

Missed Opportunities

In bed last night
I had an idea for a poem
something about
mistaken identity
or administrative confusion
some funny foible
from my past.

But this morning
it was gone
lost in fog and sleep
try as I might
only intangible wisps remained,
unable to recollect
the edge of slumber inspiration.