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aaron-case
aaron-case
American I am an English undergraduate at the University of North Texas. I'm a connoisseur of breathes, reads, and writes. I've been making the deliberate decision to be clear, precise, and on point since I was 15.
The yarn came promptly. When I started to use one skein, I began to pull out pieces of yarn about 8-10 inches in length. About half of the skein was made up of these short strands. The next couple of skeins were OK, but the third had broken strands about every 10 feet. A bit frustrating to say the least.
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Aug 6, 2011
Aug 6, 2011 at 8:36 PM UTC
Grandfather Comments on Oatmeal Colored Yarn
1. do Drugs because without Drugs there is no inspiration without inspiration there is no Drugs this is all said with wide distant looks with swinging wrists fingers comb the hair fingers pick at the skin without Drugs there is no poetry no music no ambition no sleep there is no awkwardly standing there as he tells you, little bee, joust teen mean huts there is no biased observer watching the Drugged tumble like laundry down stairs. surely this can’t be a good idea don’t try to leave don’t be awkward surely 2. do Drugs because you will see finally see! things no one else could ever see so swallow that joint eat that pill smoke those shrooms, but for the love of GOD! not by themselves place them strategically in a peanut butter sandwich like stars in a constellation you will know better next time he tells you to smoke shrooms you will feel your bare feet but you’re wearing socks! you will feel like you’re crying but there aren’t any tears! you will see your curtains take the shape of your mother folding her arms looking down at you wearing a dress that isn’t her color or her size or her style or even her at all finally you will see these things that you were never able to see before question the experience and he will sigh with sighs of such size that say you just don’t understand 3. do Drugs because you will realize Alex Grey paintings in that pin-up calendar will mean so much more which painting is brightly looming over your birth month? oh, so, the one that looks quite good where the subject’s skin is transparent revealing muscles and veins and organs a stock buddhist symbol glowing on their forehead their mouth agape a misty sort of energy radiating from their body swallowed by neon what a coincidence mine, too he’s a Grey-t artist, isn’t he? don’t say this despite how clever it sounds 4. do Drugs because there will be a moment when that cartooned weasel with his too-appropriate leather jacket and lollipop stick ***** from a snaggled lip and Nancy Reagan her wild hair her eyes that seem to be sinking inward will seem like the same person this is just your guilt your incessant questioning of what is right and what is rite your wanting to just say no and to just do it resting in the same swaying sweaty hammock your waning spirit to overthink and he will just look at you as though no one feels the way you do you will never understand 5. do Drugs because you must understand because you’ve always understood because you’ve always been understanding intangible ideas will whisper vaguely at you that you thought you knew enough about you just aren’t feeling the love like we are you just aren’t seeing the universe like we are you just aren’t feeling the energy like we are you just aren’t seeing the beauty of things like we are love universe energy beauty these things are simple when gruffly whispered over a slice of space cake this space cake is out of this world! don’t say this despite how clever it sounds 6. do Drugs because you will have the perfect disorder for your flaws flaw and disorder I’m out of it because I might of inhaled a little too much I’m thankless because of a pill I should not have taken I’m jittery because I swallowed a couple extra I’m sleepy because I would rather feel this way than look at you I fell down the stairs because it’s Cinco de Mayo and I can’t find my grinder and I’m surprised that you’re sober and I can’t feel my shoulder and I’m surprised you’re not older I swear I’m not always like this
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Aug 6, 2011
Aug 6, 2011 at 8:32 PM UTC
привет, друг!
1. do Drugs because without Drugs there is no inspiration without inspiration there is no Drugs this is all said with wide distant looks with swinging wrists fingers comb the hair fingers pick at the skin without Drugs there is no poetry no music no ambition no sleep there is no awkwardly standing there as he tells you, little bee, joust teen mean huts there is no biased observer watching the Drugged tumble like laundry down stairs. surely this can’t be a good idea don’t try to leave don’t be awkward surely 2. do Drugs because you will see finally see! things no one else could ever see so swallow that joint eat that pill smoke those shrooms, but for the love of GOD! not by themselves place them strategically in a peanut butter sandwich like stars in a constellation you will know better next time he tells you to smoke shrooms you will feel your bare feet but you’re wearing socks! you will feel like you’re crying but there aren’t any tears! you will see your curtains take the shape of your mother folding her arms looking down at you wearing a dress that isn’t her color or her size or her style or even her at all finally you will see these things that you were never able to see before question the experience and he will sigh with sighs of such size that say you just don’t understand 3. do Drugs because you will realize Alex Grey paintings in that pin-up calendar will mean so much more which painting is brightly looming over your birth month? oh, so, the one that looks quite good where the subject’s skin is transparent revealing muscles and veins and organs a stock buddhist symbol glowing on their forehead their mouth agape a misty sort of energy radiating from their body swallowed by neon what a coincidence mine, too he’s a Grey-t artist, isn’t he? don’t say this despite how clever it sounds 4. do Drugs because there will be a moment when that cartooned weasel with his too-appropriate leather jacket and lollipop stick ***** from a snaggled lip and Nancy Reagan her wild hair her eyes that seem to be sinking inward will seem like the same person this is just your guilt your incessant questioning of what is right and what is rite your wanting to just say no and to just do it resting in the same swaying sweaty hammock your waning spirit to overthink and he will just look at you as though no one feels the way you do you will never understand 5. do Drugs because you must understand because you’ve always understood because you’ve always been understanding intangible ideas will whisper vaguely at you that you thought you knew enough about you just aren’t feeling the love like we are you just aren’t seeing the universe like we are you just aren’t feeling the energy like we are you just aren’t seeing the beauty of things like we are love universe energy beauty these things are simple when gruffly whispered over a slice of space cake this space cake is out of this world! don’t say this despite how clever it sounds 6. do Drugs because you will have the perfect disorder for your flaws flaw and disorder I’m out of it because I might of inhaled a little too much I’m thankless because of a pill I should not have taken I’m jittery because I swallowed a couple extra I’m sleepy because I would rather feel this way than look at you I fell down the stairs because it’s Cinco de Mayo and I can’t find my grinder and I’m surprised that you’re sober and I can’t feel my shoulder and I’m surprised you’re not older I swear I’m not always like this
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If you can't see me inside you're rear view mirror, then I can't see you.
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Aug 6, 2011
Aug 6, 2011 at 8:21 PM UTC
Haiku for a Trucker
But tonight I decide to take the back way with my single bag of groceries buckled in for dear life with a white receipt fluttering from between the battlement of butter and bread. Tonight, the evening will swallow the sun like a pill without water, as the late night trains sleepwalk through the city humming, pondering the unanswered question— ummmmmmmm, umm, umm, umm, ummmmmmmm— and the mixture of cloud, locomotion, and sky will remind me of the cannons and the rifles and the smoke that bounced back and forth, and I couldn’t have been more sure that someone was going to die out there on San Jacinto Day And eventually I will turn within this forest of street— Hickory, Elm, Oak, Maple, Spruce, Pecan, Cedar— to see the red capitals of my reflection, crucified upon a metal grid for every fatigued citizen to see: MORRISON'S CORN KITS with a light on top that pulses and breathes. And all I can do is picture myself inside, working along the assembly lines ******** slip-resistant shoes onto the ankles of Mexican pubescents, or painting old men’s faces with sweat, or filling the bags under teachers’ eyes, or doodling veins on the legs of ladies who stand standing to stand, and stand all day, they stand. And I’ll remember how my crying sister screamed at every loud thing she heard, and how my mom was like a parrot on her shoulder saying ‘It’s not real, honey. Honey, it’s not real.’ And I’ll watch how the smoke that endlessly vomits from the stacks wearing the sky like a wig distorts the fanned out walls like fun-house mirrors, and dissipates into the night like a long, drawn out, exhale.
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Aug 6, 2011
Aug 6, 2011 at 8:12 PM UTC
San Jacinto Day
But tonight I decide to take the back way with my single bag of groceries buckled in for dear life with a white receipt fluttering from between the battlement of butter and bread. Tonight, the evening will swallow the sun like a pill without water, as the late night trains sleepwalk through the city humming, pondering the unanswered question— ummmmmmmm, umm, umm, umm, ummmmmmmm— and the mixture of cloud, locomotion, and sky will remind me of the cannons and the rifles and the smoke that bounced back and forth, and I couldn’t have been more sure that someone was going to die out there on San Jacinto Day And eventually I will turn within this forest of street— Hickory, Elm, Oak, Maple, Spruce, Pecan, Cedar— to see the red capitals of my reflection, crucified upon a metal grid for every fatigued citizen to see: MORRISON'S CORN KITS with a light on top that pulses and breathes. And all I can do is picture myself inside, working along the assembly lines ******** slip-resistant shoes onto the ankles of Mexican pubescents, or painting old men’s faces with sweat, or filling the bags under teachers’ eyes, or doodling veins on the legs of ladies who stand standing to stand, and stand all day, they stand. And I’ll remember how my crying sister screamed at every loud thing she heard, and how my mom was like a parrot on her shoulder saying ‘It’s not real, honey. Honey, it’s not real.’ And I’ll watch how the smoke that endlessly vomits from the stacks wearing the sky like a wig distorts the fanned out walls like fun-house mirrors, and dissipates into the night like a long, drawn out, exhale.
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We are the fleshy pit of a wooden fruit that remains lodged inside the esophagus of a nameless office building, too historic for corporate enzymes to break down, too fibrous for second grade impatients to digest. Pass me your torch—I’m getting blackened today. Remember when we took our undressed crayons and grazed them across white paper over the embossed plaque outside and the story of this place spelled out before our very eyes? And our very eyes, how they widened. Yes, you do. Yours was red, and mine was blue. Remember when you spelled SALSA wrong at the spelling bee, and the whole cafetorium began to hiss and judge as the judge bellowed the L-est L ever to be L-ed, and your ankles were too rusted from embarrassment to get away, and away you went, and I called you Mr. Sasla for weeks? Of course you do. You were ten, and I was, too. How after that we ran away like bandits to this place on South Main, and we picked and we plucked at the locks, and scratched away at the ashy continents on the walls, etching oaken paintings of our names married to profanities even though we didn’t know the meanings that made them so profane? I know you do. You wrote SHIT—I wrote **** YOU. And that time when you tried to kiss me in the corner by the condemned yellow jacket nests that sagged like hard candy on the splintered walls, but your empty lips tumbled into the tentacles of a cobweb, and the moment snuck away with the stagnant smell of mesquite and adolescence? Ha! Look at you! You were laughing—I was, too. And remember when you got your braces off and I just about cried because I hadn’t seen your teeth in days—in weeks?—in months?—in years?— and through the snaggled gate of your cuspid and incisor that no amount of metal would ever fix, the medicated steam slipped, and spilled like milk? That was last June. We sat right here, where were you? And that night when the fugue of sirens tugged at our ears and we frantically clogged the seams where the light seeped through with our socks and our shirts, try try trying to keep the haze from sneaking out— only to find it wasn’t us they were after, it was the bank robber next door—and we swore to never come here again? Our faces changed, too. Yours was red, and mine was blue. Yet, our torch melts to ash, and we become blazed as one. We are here, reclined against rusty limestone as smoke forms above our skulls like question marks, as red rivers meander closer to our pupils, as the taste of our memory becomes too salty to swallow, yet too sweet not to taste just one more time.
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Aug 6, 2011
Aug 6, 2011 at 8:08 PM UTC
Getting High in the Henry Fabra Smokehouse
We are the fleshy pit of a wooden fruit that remains lodged inside the esophagus of a nameless office building, too historic for corporate enzymes to break down, too fibrous for second grade impatients to digest. Pass me your torch—I’m getting blackened today. Remember when we took our undressed crayons and grazed them across white paper over the embossed plaque outside and the story of this place spelled out before our very eyes? And our very eyes, how they widened. Yes, you do. Yours was red, and mine was blue. Remember when you spelled SALSA wrong at the spelling bee, and the whole cafetorium began to hiss and judge as the judge bellowed the L-est L ever to be L-ed, and your ankles were too rusted from embarrassment to get away, and away you went, and I called you Mr. Sasla for weeks? Of course you do. You were ten, and I was, too. How after that we ran away like bandits to this place on South Main, and we picked and we plucked at the locks, and scratched away at the ashy continents on the walls, etching oaken paintings of our names married to profanities even though we didn’t know the meanings that made them so profane? I know you do. You wrote SHIT—I wrote **** YOU. And that time when you tried to kiss me in the corner by the condemned yellow jacket nests that sagged like hard candy on the splintered walls, but your empty lips tumbled into the tentacles of a cobweb, and the moment snuck away with the stagnant smell of mesquite and adolescence? Ha! Look at you! You were laughing—I was, too. And remember when you got your braces off and I just about cried because I hadn’t seen your teeth in days—in weeks?—in months?—in years?— and through the snaggled gate of your cuspid and incisor that no amount of metal would ever fix, the medicated steam slipped, and spilled like milk? That was last June. We sat right here, where were you? And that night when the fugue of sirens tugged at our ears and we frantically clogged the seams where the light seeped through with our socks and our shirts, try try trying to keep the haze from sneaking out— only to find it wasn’t us they were after, it was the bank robber next door—and we swore to never come here again? Our faces changed, too. Yours was red, and mine was blue. Yet, our torch melts to ash, and we become blazed as one. We are here, reclined against rusty limestone as smoke forms above our skulls like question marks, as red rivers meander closer to our pupils, as the taste of our memory becomes too salty to swallow, yet too sweet not to taste just one more time.
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