I'm slacking yet again, but go check out Word Riot's new June issue for a look at my poem "Everything is Living in the Lake."

Ghost Bike Press has a web designer. She's from Ohio, but currently living in San Francisco and working for the all mighty Google.

Expect it to be up by the end of the summer and taking submissions! I can't wait.

Also, it's almost summer. I can taste it.

Greens.

Reds.

Fire.

"Good Warm Sad Blood
Spilling Out in the Forest"

A conversation with Heather Christle, Hannah Gamble, Matthew Rohrer, Zachary Schomburg, and Matthew Zapruder.

Check out Gulf Coast's conversation (here) with these fine poets. This is probably one of the best conversations I’ve ever read about “surrealist” or “absurdist” poetry. These contemporary and extremely influential poets tell all, and explain the misused term “surrealist.” They’re searching for a new term and I like that idea. Comparing their work to French surrealists is awfully confident on what their work might represent. I vote for something comparable to film terms, “The New-Absurdist” or “Post-French Surrealism” or “New American-Surrealism.” These are all extremely silly, but it’s fun to try and think of something new.

The sky is definitely becoming dark. You have a decision to make and I recommend you take the path to www.darkskymagazine.com. They have my poem “The Decision You Made at the Fork in the Road” up on their site today ready for your viewing pleasure. Enjoy!

I’ve given a short listen to the new 65daysofstatic and it’s still definitely no One Time for All Time, but it seems to be acknowledging that there past LP and few EP’s have been really disappointing. Maybe this is just my infantile brain trying to understand electronic music, but they’ve really been slacking and I think it’s because One Time for All Time is just completely the epitome of epic. However, We Were Exploding Anyway (2010) does try to gain that archetype again, and they even added Robert Smith from The Cure to one of their songs. I think I just really miss the fact that a lot of guitars were driven with the beats in OTFAT, while their newest record seems to be filling that void with more beats, and more synth. At least their cover art is unbelievable. My favorite of 2010 so far (artwork wise). Help me out on this…

Tonight we will be discussing Rear Window (1954) for History of Narrative Film. Here are some of my broad questions about the film. What do you think?

In the film Rear Window, does Alfred Hitchcock create several narratives by making the audience “peeping toms” as well? Does Hitchcock use Jeffries character as a parallel to the audience? It seems that we are as much interested in the lives of these characters as Jefferies. The rise of the story is through Lars Thorwald’s actions and through the narratives of the other neighbors. Do we become obsessed with Thorwald as much as Jefferies? Do Jefferies and Lisa represent the characters of Mr. and Mrs. Thorwald? It seems that everything is fine before he murders his wife, and the same applies to Jefferies and Lisa’s relationship. Jefferies attitude towards Lisa is a lot like Thorwald, because as Thorwald becomes overwhelmed with caring for his wife, Jefferies becomes weighed down by the idea of marrying Lisa. It’s also interesting to think of the comparable Lisa taking care of Jefferies as Mr. Thorwald cares for his wife. Their characters are all very similar and I think that it’s possible the film could be told from any narrative to drive a story, but the one we have with Lisa and Jefferies solves a murder.

Denver was a blast. The Rockies game was great, their local beer was delicious, and I met some pretty damn good writers.

Back home and ready to send out my chapbook. This is an amazing feeling/accomplishment for me and I think I want to start working on another. Maybe I should spend a little more time on my thesis?