WriterI am a scientist;More Like This
Pinning down ideas
preserving them in
their fragile beauty
as I take away their freedom,
I am a parasite;
sucking the soul out
of music and leaving it
a hollow shell
that plays like
the noisy silence in
I am a thief;
taking what is not mine,
the world around me,
and pouring it into
a mould that
I claim is
I am a blasphemer;
playing God in a
sacred place, changing
the world to my
liking when the orchestra
is not under my
I am a liar;
selling false havens
to lonely runaways,
giving them a glimpse
of a world more glamorous,
more fantastic than their own,
smiling as I snatch it
from under their noses
while they thank me
for my crime.
I am a slave;
hanging in a
with the language I choose,
caving to its rules
when I draw in
smears of its
I am a writer
these are my vices.
i would do anything to get you to love yourselfi know your type, i’ve seen them around hereMore Like This
before, browsing through my poems like
you’re flipping through vinyl records, trying to find
that one disc you were listening to the first time
he leaned over and kissed you.
the only way you’ll ever be able to love yourself
is if he leans over and kisses you again, is if someone
tells you about the seven wonders of your soul, if
someone sits down and writes a list of all your beautiful
fault lines that you’ve never been able to forgive.
you want to love yourself and you want to be loved,
but i know it’s hard to believe that you’re holy,
when your hands still shake when they touch food and
your breath always quickens when you drive
over bridges and no one can look you in the eye
when you ask them if you’re beautiful.
look, you’re stardust, you’re snowflakes, you’re
the sky’s gift to us, you’re comets on a cloudy night
when no one looks up to appreciate how beautifully
words to say to your reflectioni am a collection of dust and stars,More Like This
blue luster in a sea of inky void.
i am a tongue licking lips, clicking against teeth,
shaping sounds that matter.
i am the lightning that explodes in purple storm clouds,
four miles of haphazard beauty
on a lonely night.
i am the sea in autumn, still holding the warmth of a summer of sunlight,
though the air outside is cold
i am the snow at 6am.
i have not been touched, not stepped on. my surface is smooth as glass.
i am the snow at 6pm.
i am still beautiful.
i am the sound of rain just before sunrise
on a sunday morning.
i am the swirl of cream in a coffee,
blossoming and unfolding like a galaxy.
i am the smell of lavender
after a storm.
i am breathing.
macrocosmici.More Like This
i have a theory
that the size
of the universe
is measured in
so small that it
became big again
thus we are all
and each other
and our expanses
when we touch
and the universe
every nebula or
a star was re-
that wasn't nothing
or a nothing
lately the hole
in my chest
so i will observe
and wait for
a bleak space imploding
stark ribs contracting
is this a refraction
of some light unsourced
or bouts of redacting
doubts interacting with stellar patterns
unquell our orbital shackling. we're asking
seas to stay churning while ashes keep spurning
our totems over
in certain collapse
i'm a supernova
BreakingOne day, you will open the cupboardMore Like This
to find a wine glass or some Tupperware
and the world will, without warning
or alarm, roll off the edge of the shelf
and coming crashing down.
The oceans will splash onto the linoleum,
onto the rug. All the dust in all the deserts
will rain down onto the couch and coffee table,
the hills will crumble, the mountains will break,
all the windows in all the cities will shatter
and fall, a thousand dangerous miles of glass
glittering on your kitchen floor.
Everything will hush.
Exhale the breath you are holding,
and go look for a dust pan, for a broom.
GraphonomicsHe fell in loveMore Like This
with her handwriting –
the way her dribbled g’s
gallivanted into corkscrews –
the way her s’s
would caress the ends of the letters,
lapping at the plurals
and ever so softly
conveying graphite sibilance –
the way her a’s
had jaunty tails
the apexes of lowercase –
the way her commas
and the pencil point would press
into the filaments –
the way her cursive
flowed like a landscape
(and they say that pictures
are worth more
than the masterstrokes on her looseleaf) –
the way her hand
had crinkled the paper
as she scribbled a note
on a dog-eared flap –
the way she looked
when she was deep in words,
brow lined reflecting the rules
of the mockingly mesmerizing meter,
wisps of frowns
echoing the creative scratch,
diamond tongues flickering
in hazel eye-glasses –
the way she wrote his name,
the sinuous care
she brought to the lowercase
preceded by the forceful
The Art of Poetry KillingWhen I find an old poemMore Like This
Packaged beneath an allegory
Or taped beside a piece of prose,
Warm and balmy and still swollen
Ripe with the undisturbed
Within their plastic wrapper,
I untangle its cellophane bindings
To find it's too old
And too stale for the proper use of a poem
So I pluck out its
Like some guts of a creature
And sew them
Onto other dust poems
Like the mismatched socks
Of a child
Just like murder is an art,
I still walk away with ink on my hands.
Dear Parents:Strike the soft skin of your children; leave marks.More Like This
Go on: show them how hard they must become
to be like you.
Mold them to be mindless: coach them to react
with fists; make them believe that words have
Shape them into an almighty monster: modern man.
Destroy their purity and imagination by damning them
with absurd words of a god who previous men
Teach children to follow a leader, and to not ever
break the circle they belong to, so society never
Above all: train them to question love, even your own.
Research for History of Animation Part 2So... I took a look at what knowledge I'm going to need for part 2 (1910-1919), and oh boy do I have my work cut out for me. What I'm asking for is help looking for sources, and if I'm missing anything. Keep in mind that this video is going to take a lot of work to make, but it all starts with research. I just ordered a documentary about Quirino Cristani, but that's obviously not enough. Here's a bit of a smorgasbord of what's going to be in part 2. If you can point me to any knowledge about any of these topics, that would be amazing. And don't say wikipedia. I checked. Its knowledge on early animation history is... lacking.More Like This
Here's what's going to be in part 2, in no particular order:
Winsor McCay, specifically his works Little Nemo; Gertie the Dinosaur; and The Sinking of the Lusitania. I suspect him to be the most well-documented.Quirino Cristani. He was the guy behind El Apostol, the first animated mov
Eras of Animation - Episode 1 (Pre-1910)So I decided to essentially make a video series where I talk about animation history, and I'm gonna be talking about pretty much all of it. So yeah, these videos are going to take awhile. To be totally honest, I think even the next episode could be 30 minutes long, and for the most part more things happen in each successive decade than the last one. I guess you could call this a demo for the whole series.More Like This
I'm not just going to be doing a retrospective of American animation. I'm going to go the whole nine-yards. It's going to take awhile. In America alone we've got the beginnings of Winsor McCay and Felix the Cat. Then there's the start of Japanese animation, and if I'm not mistaken there's the first animation series in France. And then I've got to talk about a movie that doesn't even exist anymore. It's gonna be tough. But I think that it has to be done. It's very hard to find a very good animation history catalog. I mean, most of them this era get Humorous Phases of Funny Faces and Fa
So You DON'T Want to Write a Torture Porn?And here's the most common Writing Tips topic:More Like This
One of the most common questions I ask is "how do I avoid writing a torture porn?" I'm going to assume that you're writing a comedy focused on a lot of slapstick because in the grand scheme of things it's easy to avoid writing a torture porn—don't have anyone get hurt outside of the main conflict, and resolve that conflict by the end. But no, you want to have something like the classic Looney Tunes and want the audience to end up laughing, rather than wondering what exactly went through your head in order to think that that was funny. Keep in mind that whether the audience finds slapstick funny or not largely depends on the animators. The best thing that the writer can do is prevent it from becoming unfunny. This plot type is about as old as animation so it's good to learn from your fore-bearers.
The most important aspect to this story is your foil. To put it bluntly: the foil is the character that we're gonna beat the shit out of. I