I love that music is an audio version of a book which is a mental version of a drawing which is a simplified version of a movie which is a combination of it all

The idea had been growing in my brain,
Queens, fairies, dopers, junkies, sick, venal,
They are all animals anyway,
Become a person like other people,
Organization is necessary,
All the animals come out at night,
There never has been any choice for me,
Wash all this **** off the streets. My body fights,
There is no escape. I am God's lonely man,
Headaches that stay and never go away,
Thank God for the rain. Wash the garbage and
cannot put it back together again,
One day there will be a knock on the door,
and it will be me. What hope is there for (me?)

when we first met
I finally understood
what all the songs, movies,
and stories tell about love,

but only now that our
paths may never
cross each other's,
I finally really understand.

Night and day I see your face at stores;
A famous one, seen in different shapes,
That does express life, which each fan adores,
Adventures with downfalls and escapes.
Like stars of olden days, in black and white,
In every scene you shine with emotions,
Each smile, each tear a different sight,
Praised for many philosophical notions.
Oh, and my teenage years were filled with you,
Right and left I would see you for a while,
Till I would suddenly find someone new,
Making me feel safe with a lonely smile.
Amongst the loved ones you were then, O star,
Nonstop, while I was always apart so far.

We know that to look now would set us ablaze,
the projectionist has loaded up the next reel,
but still we can’t seem to avert our gaze.

The clumsiest cinema still often sways.
The sound may be garbled, the edits piecemeal,
but we know that to look would still set us ablaze.

We question ourselves as the velvet drapes raise—
the playhouse itself thus begets our ordeal—
but still we can’t seem to avert our gaze.

The schoolmarms all warned us against such forays,
having seen how the real sinks into the surreal.
Yes, we know that to look now will set us ablaze.

Now the actors all shout patriotic clichés,
and we balk at the film’s jingo-populist zeal,
Even still, we can’t seem to avert our gaze.

Transfixed by tricolor and beset with malaise,
but what truths did Lot’s wife’s noncompliance reveal?
For we know that to look now will set us ablaze,
but still we can’t seem to avert our gaze.

Smithereens
we,
with, on, a truck’s van
speeding scrapping,
alas, vagabond voyage ceiling

Well, astral jumping from a car /cinnamonned sun/
isn’t hard then I see, creek

We,
the cloak, the moment and me the contracting,
a book of flights spread open, we
a discarding,
as its wing from gold smothered in
most blue sky and a red sign towards
embarking to a new life/face encrusting

Joy, lazy, lounged,
like a banjo in its autumn on a porch jiggly slouch,
strings light freeze at wind, clasp, then step up and
as the hitchhiker dance.

Amèlie, I caught your sound!
your theme, lastly away,
the accordion’s as of now met,
adopted in a knee’s set,
one leg around the other a mess.
Hanging springs of it, at edge.

Maroon,
eyes currently in wood carved,
steampunk clogs, clads there
fine.

Mellow,
whole body a cello,
from boots with folly drunk
through wood prolonging curved
to the “f”s at the end of ideas and
caramel hair known as falling leaves’
place.

This
will
be
a
great
something.

Laid open!
Further!
Hitter!
Onward higher!

Off,
so off
we
go