Maya Angelou once said,

"I've learned that people will forget what you said,
people will forget what you did,
but people will never forget how you made them feel"

although the thing is,
I wont forget
any of it.
the open ears,
the listening,
the understanding that was so easily given
I will always remember
the way he congratulated me
the day I pulled poetry from my teeth

I wont forget how he made us feel-
we.
we    wont forget how he made
us feel

the many conversations that lived in his office are
now stuck in between the cracks of the walls
I imagine the dark of the theatre in mourning,
the curtains heavier,
more blue than they are usually
the black of the paint floor chipping backwards to
share the memories saying,
"Look,
It is all here underneath
your feet."

if you have ever wondered what magic feels like
I can tell you with certainty that
it is a bear grasp from a tower of a man and
a laugh that can be defined more correctly as a chuckle
or most importantly, a smile that
knew comfort when
it was most needed

what is hardest about it all is
this reality, the growing up that comes with losing
I am trying to comprehend the fact
that there are going to be students,
new ones,
who
will never know the magic that
is a Conway hug

I know
we will all be reminiscing, telling stories and
his name will be a past tense we
didn't want to have to use
this is a poem I
never wanted to have to
write.
one about a man who carried so many hearts
inside his own
the same one who
reminded me of my worth on
more than one occasion
this is about the man who was like a father when
my own was sick
this is about the man
who directed my first kiss
on the same stage where I learned how to be vulnerable
and how to trust

it is so easy to say,
this isn't fair.
but then I picture him,
arms crossed, replying
"Life isn't fair"
and he would be correct in
saying it isn't, no,
life isn't fair.
but what a privilege it is
to have had him
in mine
what a privilege it is
to have known him
at all

Maya was wrong,
we wont forget what he said,
sitting in the center of the studio referencing someone's house
"Treat it like your grandmother's"

I wont forget what he did,
what he taught me,
us.
we wont forget any of it,
I promise.

There is nothing new under the sun, but it was night and the indifferent blinks of gaseous lives above looked down while my friends and I were at a new fast food joint that moved next to a now lonely Wendy's, with a faded sign tarnished by something the new fast food joint had yet to experience—mundanity by time. But I had my notebook with me while we ate outside, but it was in the car. My mind is always in that book, and I remembered something I had written for a novel in progress: 'Nothing is new under the sun. How is it possible to watch stars die? There is nothing new to their dust. We are the flies of the universes.'
It was just when I had finished my BBQ pork sandwich when Ariana suggested visiting a graveyard. I had the idea to visit a Satanist graveyard that our friend, Lanessa warned us against for the better safety of our sane souls—good luck with that. I wanted a revival of fear. How the beast would rip at the roof off our metal can of a car—the greater our barbarism, the greater our admiration and imagination—the less admiration and imagination, the greater our barbarism. But Ariana disagrees with words I never say, Nick laughs with my simple words to that previous thought. How funny it would be to burn eternal.
But then he suggested we should go to the Trussel in Conway. I had no idea or quote to think about to contribute to this idea. I wander, as I like to, into the possibility that his idea is a good one. Like some wanting hipster, I dress in an old t-shirt with of mantra long forgotten in the meaning of its cadence.
That is the march of men and women into the sea—honest, but forgetful and forgotten.
I was wearing a shirt sleeve on my head I bought from a mall-chain hippie store, and exercise shorts, finished off with skele-toes shoes. I was ready for everything and nothing at the same time. And that fits, I suppose. But all that does matter—and doesn't, but it is hard as hell to read the mind of a reader—it's like having a lover, but s/he doesn't know what s/he wants from you—selfish *******.
But there I was,  on the road, laughing in the back seat, sitting next to a girl who was tired, but also out of place. I could see she wanted to close arms of another, the voice of another, the truth that sits next to her while watching tv every time she comes over to hang with him, but never accepts that truth. She is a liar, but only to herself. How can she live with that? The world may never know.
The simple rides into things you've never done before give some of the greatest insight you could imagine, but only on the simple things that come full circle later. That is a mantra you can't print on a t-shirt, but if it ever is, I'm copyrighting it. And if it's not possible, I'll make it possible!
When we got to the Trussel, the scenic path lit by ornamented lamps seemed tame once I stepped onto the old railroad tracks. They were rusted and bruised by the once crushing value of trains rolling across it's once sturdy structure. Now they were old, charred by the night, and more than just some abandoned railroad bridge—the Trussel was a camouflage symbol birthed by the moment I looked into a Garfish's eye as it nibbled on my cork while I was on a fishing trip with my granddad when I was eleven. I remember that moment so well as the pale, olive green eye looked at me with a sort of seething iron imprint—I needed that fear, it branded instead of whispering that knowledge into my ears.
That moment epitomizes my fear of heights over water—what lies beneath to rip, restrain, devour, impale, and or distract me.
But epitomize is a horrible word. It reeks of undeveloped understanding. Yet  I want a nimble connection with something as great as being remembered—a breathe of air and the ideas  thought by my younger self, but I will never see or remember what I thought about when I was that young—only the summary of my acts and words. And by that nothing has changed—am I too afraid to say what I need to say? Too afraid to hear what everyone else hears? Or is it the truth—depravity of depravities that has no idea of its potential, so I am tired of the words that describe my shortcomings and unextended gasping hope. I am tired of living in the land of Gatsby Syndrome waiting for Takotsubo Cardiomyopathy!
But when we got to where the Trussel actually began I felt the fear hit like the day it was born—all hope was drained, and I was okay with abandoning all aspirations of having fun and being myself in the face of public criticism. I was flushed out by the weasel in my belly—the ******* beneath those still waters. I compare it to someone being able to handle Waterboarding, but can't handle being insulted—it's that kind of pathetic.
I stood just on the last understandably steady railroad ties that I knew were safe and watched my friends sit off the edge of the bridge, taking in the cold wonder of the night, and I was told at least I was smarter than my dead cousin who managed to get on top of his high school in the middle of the night, but had to be cohearsed down for fifteen minutes by a future marine, and future mourner who still grieves with a smile on his face.
The future mourner, he laughs at the times he insulted, or made fun of, or chilled with his now dead friend. It's never the bad times he cries about, there are none—just the good times, because they don't make them like they used to.
I watched them in that moment, and I don't know if I can deal with knowing my life is real. I began to blame my morality on this fear even though I already justified the fear just seconds before. But as I write this, I look over my notes and see something I wrote a few days ago: 'Life is ******* with  us right now. You laugh and I laugh, but we're still getting ******. The demon's in our face.'
As morbid as that comes off, it resonates some truth—what is killing us is going to **** us no matter what we do—and I don't want to be epitomized by the acts and words I didn't say.
I was never in the moment as a kid—I was raised by by old people and kept back by my younger siblings. The experienced tried to teach me wisdom, and the inexperienced kept my imagination locked in time. I don't want to go home as much now because I see that the inexperienced are becoming wiser everyday and the experienced are dying before my eyes. My idea of things is enduring leprosy.
But back to the simple moments.
Ariana saw a playground as she stood up and investigated the Trussel. It was next to the river, behind the church, fenced off by the fellowship of the church to keep the young ones in and the troublesome out. Of course, we didn't realize there was a gate and it was locked until Nick stated the probable obvious within ten feet of the nostalgic playground. And that's when Ariana pointed out the bugs swarming the parking lot outdoor lamp that blazed the fleshiness of our presences into dense shadows and more than likely caught the eye of a suspicious driver in a truck passing by. But I was still on the bridge—back in the past, never the moment. Me and my friends are still children inside these ***** forms. I muttered to myself: “Life ain't about baby steps.”
Nick looked over and asked what I said. I turned around, dramatic, like I always like to and repeated louder this time, “Life ain't about baby steps.”
He asked if I needed to do this alone, and I said he could come along. I walked rhythmically across the railroad ties, and heard Ariana comment that getting to the railroad up the small, steep hill was like being in the Marines. I laughed sarcastically. Nick and I had been to Parris Island before, and I know they test your possible fears, but they beat the living **** out of them.
I casually walk into the room where my fear lives and tell it to get the **** out.
When I reached the precipice of the last railroad tie I stood on before, I felt the old remind me that death awaited me, but there was no epic soundtrack or incredible action scene where I stab a manifestation of my fear in heart—a bit fun it might have been, but not the truth. I bear-crawled over the crossings of the ties and the structure of the bridge itself. I felt Relowatiphsy—an open-minded apathy self-made philosophical term—take over me. It is much simpler than it sounds.
There was no cold wonder as I imagined. There was just a bleak mirror of water below, a stiff curtain of trees that shadowed it, and the curiosity of what lies in the dark continuing distance past the Trussel.
Nick sat with me and we talked about women and fear, or at least I did, and I hoped he felt what I did—there was a force there that is nabbed by everyone, but cherished by few—courage. And I thank him for it, but I know I did it. Now I want to go and jump in that still water below—Ariana later says she's happy I got over my fear, but I'll probably have a harder time during the day when I can see what I'm facing, but I see it differently. During the day, the demons are stone and far away—like looking down the barrels of a double-barreled shotgun uncocked and unloaded, but at night is when the chamber is full and ready to go, and you have no idea who is holding the gun with their finger on the trigger and your destination in mind.
Then we threw rocks into the water in contest to see who could throw past the moonlight into the shadowy distance . I aimed for the water marker, and got the closest with limited footing, using just my arm strength. But it wasn't long before we had to leave, making fun of people who do cooler things than us, on the way to the car. I had to ride in the back seat again because I forgot to call shotgun. But on the way home, the idea popped in our heads what we should get my hooka and go to Broadway, and get the materials so we could smoke on the beach.
Nick's girlfriend and her friend joined us.
I missed a few puns against my co-worker as I was sent to get free water from the candy store where I work. I ended up doing a chore because I was taller than most of the people there. Appropriate enough, it was filling the water bottles up in the refrigerator.
All the while I loathed the fact that I would have to be clocked in tomorrow by two in the afternoon. I grabbed the water and got out of there as fast as possible without appearing to be in a hurry.
Impression of caring matters more than the actuality where I work—and yes, that makes me a miserable ****.
Perhaps it's not too late to admit I am recovering pyromaniac from my childhood and the flavoring we use for the taffy is extremely flammable. It would be a shame to drench the store in what people love to smell everyday when they walk in, and light the gas stove. Then, maybe I could walk away real cool-like as this pimple in this tourist acne town pops like the Hindenburg. The impression of splendor is like a phoenix—it grows old, dies, resurrects into the same, but apparently different form, spreads it's wings, and eats and ***** on everything simple, or presumably so.
I forget the name of the beach, but it was the best time I've had in a while. I was whimsy, and high on the vastness of the stretch of beach around us. They could bury us here. But me in particular. I rolled from the middle of the beach to the water, stood in the waves and shouted my phrase I coined when I realize something as wonderful as conquering a fear or realizing a dream;
--******' off!
And I stared at the horizon. My friends came up behind me and I looked back to see it was Nick and his girlfriend hugging. I gave a soft smile, put my hands in my pocket, and turned back to stare at the clouded horizon. What beasts must lie out there—more ferocious than the simple fresh water beings that wait beneath the earlier placid waters. I was a fool to think that was the worst. Nick said as I pondered all that, that I looked like Gatsby, and I tried to give him a smile that you may only see once in a lifetime, but I'm sure it failed.
I wanted to tell him that, “You cannot make me happy. It is usually the people who have no intention of making me happy that makes me smile the quickest.” But I don't. Let me be Gatsby, or Fitzgerald, if to no one else, but myself.

Hell is the deterioration of all that matters, and as the five of us sat around the hooka, and inhaled the thick blueberry flavored smoke that hinted at the taste of the Blueberry flavoring I use to make Blueberry taffy, there was a satirical realization that the coal used to activate the tobacco and flavor in the bowl is sparking like a firework, and reminds us all of where we're going.
It's a love affair between that hopelessness and hope of some destination we've only read about, but never seen.
By this point Nick and I are covered in sand, because he joined me in fun of rolling down the beach. We want so bad to be Daoists—nonchalant to the oblivion as we sit in. Just on the rifts of the tide, he and I scooped handfuls of wet sand, and I lost my fear of making sense and let Relowatiphsy take over again.
“Look at the sand in your hands. It can be molded to the shapes your hands make. We scoop it out of the surf and it falls through our fingers. There are things we're afraid of out there, and we sit just out reach of them, but within the grasp of their impressions. The sand falls through our fingers, and it plops into the tide, sending back up drops of water to hit our hands—the molders of our lives.” I said all that in hope against the hopelessness of being forgotten.
Then he said, “What if this is life? Not just the metaphor, but the act of holding sand in our hands.
I relish in his idea of wiping away my fear of an unimportant life. And by this point, it's safe to assume I live to relish ideas.

The last bit of sand from the last handful of sand was washed from my hand and I looked back at the clouded horizon, pitch black with frightful clouds and said:
“Nick, if I don't become a writer. If I live a life where I just convince myself everything's fine, and that dream will come true after I finish all the practical prep I 'must' do. I will **** myself.
I looked at him, Relowatiphsy in my heart, and he said:
“As a friend, I'd be sad, but I'd understand. But that means you have to literally fight for your life now—regardlessly.”
And he left me with those words. Just the same as my granddad left me a serious heed before he wanted to talk about something more cheerful, when I asked about his glory days fishing the Great *** Dee River. He said: “I wish I'd been here before the white man polluted the river. It would've been something to fish this water then”, then he paused to catch his breath, “Guess there are some things that stay, and others than go.” Then joy returned, as it always does.

But the idea of what was happening to me didn't hit me until we were a few miles away from the beach, covered in sand, but the potential of the night after conquering my fear of heights over water had been shed in the ocean.
Around midnight, when the headache from the cheap hooka smoke wore off and the mystic veil of the clouds over the horizon has been closed in by the condensation on the windows of some Waffle House in Myrtle Beach. There was a wave of seriousness that broke over my imagination. Works calls for me tomorrow by two.
There's not much vacationing when you live in a vacation town.
And midnight—the witching hour—spooks away the posers too afraid to commit to rage against the fear.
But there are others—college students that walk in and complain about the temperature of the eating establishment, and the lack of ashtrays—how they must be thinking of dining and dashing—running from a box, but forever locked in it.

They make annoying music as I write this. That is how they deal.