What’s beyond the two lights at the edge / of the bay bridge tunnel blinking / out of turn, one a bit more butch / than the other

The last time I was here I was really in here. I have been here. I know that I have been here. These people are in my home and they are watching my TV.

Let me tell you, Lil—I’m here to be borne down on.

I was born March 24th, the same day as Harry Houdini, so my family used to take annual trips to the Harry Houdini Museum in Scranton, Pennsylvania.

to bend over whenever. This belief reaches / quietly into their bone marrow.

Alright fine: let’s play Chubby Bunny / naked in the sprinklers, I said.

super impose me neon, berry-tinged / fingertips left smudges across everything I touched.

But for me, Earl’s short poems (sometimes, I’m willing to concede, laid over monotonous beats) are speculative and visionary. They map a modern mind, short in attention, fighting to be audible above our cyber industrial reality—its alienating information storm of iPhone notifications. They take us beyond the day’s meaning-emptied habitual speech.

I raced past the kennels each time. So many noses pressed against the chain link. Others cast their pink, brown, black noses downward, their beautiful tails curling inward or twitching a sad little wag as they turned away.

nother time, a couple pressed me to / forgive my family, they said all the best art draws from love, not anger / but I barely heard them over the Frank Ocean song

But we arrive to find it’s been co-opted by a cocktail bar. / The Moss wants to bounce but we’re already here.

On an external hard drive stored in a closet somewhere at home, I have a photo from the first concert I set up, a moment captured on a roll of film and later scanned and sent via email.