Category Archives: Dead Poets Society

April 14, 2025

 

On April 14, 1828, Noah Webster, that lexicographical colossus, that indefatigable codifier of a nascent nation’s tongue, unleashed upon the world his two-volume American Dictionary of the English Language—a staggering 70,000 words, priced at $20 a set, a veritable bargain for the sheer audacity of its ambition.  Webster, with his fierce American nationalism, standardized the spelling—think “color” sans the superfluous u, “organize” with a zesty z—and rooted his definitions in the raw, evolving speech of the early U.S. When sales tanked, he slashed the price to $15, and lo, the Webster legacy was born, a nation’s voice defined, a middle finger to colonial cultural shackles. This was lexicography as rebellion, as patriotism, a man not just defining words but defining an identity, a people, a dream!  Damn right.

But oh, how the mighty have fallen! Fast-forward to the last seven years, and poor Noah, that titan of linguistic purity, would be clawing his way out of his grave, screaming in abject horror at the woke, progressive, cultural-Marxist takeover of his beloved Merriam-Webster! The dictionary—his sacred legacy—has been hijacked by a cabal of language-bending ideological idiots, twisting definitions to align with the simpering, sanctimonious zeitgeist of social justice warriors and their dim-witted ilk!  I can hear the woke now, howling and bitching, gnawing on my doorknob, trying to get in and whine.  But look at the evidence, you sheep, the proof is in the pudding: “male” and “female” redefined to include “gender identity,” as in “having a gender identity that is the opposite of female” for male—since when did biology bow to feelings? “Boy” and “girl” now tethered to “gender identity” rather than, you know, reality—a boy as “a child whose gender identity is male,” a girl vice versa. This isn’t lexicography; this is madness, a semantic coup d’état!

And it gets worse! The term “homosexual” as a noun—gone, erased by Dictionary.com for its “clinical connotations,” replaced with the oh-so-chic “gay,” as if history itself can be scrubbed clean by the woke police! “Colorblind” now comes with a sanctimonious note that while it might mean freedom from racial prejudice, it could also—gasp!—suggest a failure to “acknowledge systemic racial inequities.” “Anti-vaxxer” expanded to include not just vaccine skeptics but those who dare oppose mandates—a nod to the COVID-19 culture wars, a slap in the face to individual liberty! And don’t get me started on “climate change” morphing into “climate crisis,” a term dripping with activist urgency, or “unique” being watered down to allow modifiers like “very”—a grammatical sacrilege that would make Webster weep!

This isn’t evolution, you fools, it’s capitulation! This isn’t a goddamn French dictionary…no reason for surrender here.  Merriam-Webster claims they’re documenting “contemporary language use,” but what they’re really doing is kowtowing to the cultural left, bending the knee to every passing fad—be it gender fluidity, racial grievance, or environmental hysteria! Noah Webster didn’t just define words; he defined a nation’s voice, its spine, its grit. Now his legacy is a plaything for the perpetually aggrieved, a tool for ideological conformity. He’d be spinning in his grave, I tell you, spinning at 10,000 RPM, a lexicographical centrifuge of rage, watching his dictionary—his life’s work—turned into a manifesto for the woke apocalypse! We’re through the looking glass, dear reader, and the dictionary’s been leading the charge—stop the madness!

N.P.: “Enter My Mind” – Drain

April 11, 2025

Today the Dead Poets Society requests you pour some out for Kurt Vonnegut, who died April 11, 2007, just weeks after suffering brain injuries from a fall.  Vonnegut, the sardonic genius behind Slaughterhouse-Five, Cat’s Cradle, and Breakfast of Champions, was a master of blending dak humor with biting social commentary.  His books were Molotov cocktails thrown at conformity, war, and the absurdity of human existence.  His experience as a POW in Dresden during the 1945 firebombing shaped his anti-war stance, giving Slaughterhouse-Five its haunting, semi-autobiographical edge.  Vonnegut’s wit was a weapon, slicing through the hypocrisy of his time while making you laugh at the abyss.  He once said, “We are what we pretend to be, so we must be careful about what we pretend to be.”  Indeed.

Vonnegut’s death marked the end of an era for American literature, but his legacy was pretty badass.  He was a humanist who didn’t pull punches, calling out the establishment while championing the underdog.  His work inspired generations to question authority and find meaning in chaos, influencing everyone from counterculture rebels to modern satirists.  Vonnegut was a reminder of the power of a single voice to shake the world with nothing but a typewriter and some hard-earned cynicism.  So it goes.

N.P.: “Lachryma” – Ghost

April 9, 2025

I’ve been up since 04:00, trying to get a jump on today’s writing.  So far, so good.  I’ve grown to like these pre-dawn hours: all decent people are asleep, so lots of quiet and no interruptions.  Even those weenies on the east coast are still sleepily stumbling around their lofts looking for caffeine and trying to find a clean shirt to wear today.  Ha!  I’ve already put down 500 words.  Indeed.

In other badass literary news, on this day in 1859, a young Samuel Langhorne Clemens—better known as Mark Twain—earned his steamboat pilot’s license, a gritty milestone that would shape one of America’s literary giants.  This might seem like a trivial event to the uninitiated, but it was anything but.  At 23, Clemens had been apprenticing on the Mississippi River since 1857, learning the treacherous currents and hidden snags of the waterway while working on comic travel letters for the Keokuk Daily Post.  This wasn’t simply another day job for an aspiring writer – it was a baptism by fire into a rough-and-tumble world of river men, gamblers, and hustlers—a world that would later fuel the raw, unfiltered voice of classics like Adventures of Huckleberry Finn and Life on the Mississippi. Twain’s time as a pilot gave him an ear for the dialects and tall tales of the American South, grounding his work in a realism that cut through the era’s sentimental fluff.  He navigated a river that could kill you in a heartbeat, lived among hard-drinking, hard-living folks, and later used that lens to skewer hypocrisy, racism, and human folly with a pen as sharp as my newest switchblade. His steamboat days ended with the Civil War, but the swagger and insight he gained on April 9, 1859, informed the bulk of his work.

Damn…it’s now 06:30, that wretched sun is rising, and I just hit the first of what will probably many walls today.  A day like this, starting as early as it did, may warrant a Triple Mocha Frozen Coffee with an extra shot of espresso, or cocaine…whatever they have on hand.

N.P.: “Dayman” – RMB

April 7, 2025

Today’s a big day on the Dead Poets Society’s calendar.  On April 7, 1770, one of the founding members, William Wordsworth was born.  Alongside his buddy Samuel Taylor Coleridge, Wordsworth kicked of the Romantic movement in the 19th century, a rebellion against the stiff, rational ideals of the Enlightenment.  These guys weren’t just writing pretty poems about daffodils (though Wordsworth’s “I Wandered Lonely as a Cloud” is a banger) or tributes glorifying their patrons; they were shaking up the literary world with raw, emotional verse that put the individual’s experience front and center.  Their 1798 collection, Lyrical Ballads, was a middle finger to the stuff neoclassical norms  of the time, emphasizing imagination, the beauty of the natural world, and the power of language.  Which was pretty disruptive for a couple of poets in an era when most writers were obsessed with order and reason.

Wordsworth deserves much more attention here…he and Blake were surprisingly strong influences on me.  But I have writing of my own to get done…but happy birthday to Mr. Wordsworth.

N.P.: “Take Up The Fight” – Family Money

April 2, 2025

It’s been a challenging 24 hours, beloved reader.  Sparring last night, I got punched in the mouth.  I totally had it coming – I dropped my guard whilst attempting a question mark kick and got smacked.  It wasn’t a big deal, but it left me with a pretty sizable fat lip today.  I don’t know if anybody noticed, and don’t particularly care, but I knew it was there and it pissed me off.  Then last night I could not fall asleep, for no good reason at all.  I maybe got two hours of sleep, then had to get up to deal with an overly full day of what seemed mostly like bullshit.  Maybe I was just cranky from too little sleep, but my fuse was definitely short today.  When I finally got back to the Safe House, I was completely exhausted, but still had a 2000-word deliverable due to Mgmt, which, badass that I am, I somehow managed to complete.  I’m pretty completely spent, and I should by rights just fucking collapse at this point, but there are still a couple things I have to do.  One is to sign for a big weird delivery that is “supposed to arrive before midnight.”  The other is some international Dead Poets business, so let’s get to it while I’m still somewhat coherent.

First up is a big happy birthday to Hans Christian Andersen who was born on this day in 1805 in Odense, Denmark.  Those of you who were brought up before the last two or three snowflake generations will undoubtedly remember Uncle Hans for his fairy tales.  Those of you who are unfortunate snowflakes, don’t let the fairy-tale label fool you – this dude was not spinning fluffy bedtime stories.  Take The Little Mermaid: she doesn’t get the prince, loses her voice, and ends up as sea foam after contemplating murder.  Or The Snow Queen with its icy, ruthless edge.  Andersen’s stories are dark, poetic gut punches, born from a life of poverty and rejection.  He clawed his way up, and his pen bled defiance.  My man!

Another happy birthday to Emile Zola, born in Paris on this day in 1840.  This French titan used his pen to wage war on hypocrisy and injustice.  His Germinal (1885) dives into the brutal lives of coal miners, exposing exploitation with realism so vivid it still packs a punch today.  Kinda like the one that gave me the fat lip last night.  His “J’Accuse…!” letter in 1898, defending Alfred Dreyfus, got him convicted of libel and forced him to flee France.  He risked it all for truth, which more than warrants a permanent place on the D.P.S. Honor Roll.

Finally, we turn to Japan, where on April 2, 1971, Yukio Mishima’s The Sea of Fertility tetralogy wrapped up posthumously with The Decay of the Angel.  Mishima was an absolute force obsessed with beauty, honor, and Japan’s lost soul.  After finishing this epic, he tried to overthrow the government in a failed coup and committed seppuku in 1970.  The final book hit the shelves months later, a haunting capstone to a life lived on the edge.  More than just literature, it’s a samurai’s last stand.   Goddamn right.

N.P.: “Purple Haze 2025” – Frank Palangi, Henry Chauhan

March 31, 2025

Day 2 of this impossible question and I’ve already had it with Mgmt.  These limey gits expect daily phone calls discussing the daily deliverables.  And they keep calling me “bruv.”  That aside, we had a very productive phone call this morning, and their plan is solid and will work.  So I’ll try to bitch less, but I, as always, reserve the right to lampoon them viciously.  So will get right to D.P.S. business.

Happy Birthday to Flannery O’Conner, who was born on this day in 1925 in Savannah, Georgia.  I’ve always like her literary style: she didn’t mess around.  Her stories, like A Good Man is Hard to Find, are packed with misfits, violence, and a rather twisted take on redemption.  She had lupus but didn’t give a shit: she still managed to write some of the most unflinching tales in American literature, winning the National Book Award posthumously for her Complete Stories.  She, like yrs. truly, knew her pen was a weapon that she wielded with a fierce, unapologetic grace.

Okay…back to work.

N.P.: “Tower of Strength – East India Trans Cairo Mix / Extended” – The Mission

March 28, 2025

Well, dear reader, try as I may, I’m afraid I have once again fallen woefully behind in my drinking.  And there may be no coming back from this now…this Might Be It.  You know that these alcoholic lapses have been happening with increasing frequency for the last few years, but I’ve always rallied and made up for lost buzzed time by diving testicles-first into semi-heroic catch-up binges and inebriated goat-dances.  But lately, I’ve noticed my natural enthusiasm for such shenanigans is rapidly waning.  There are, by my reckoning, three main reasons for this:

  1. Not Nearly Enough Time for Altered States of Consciousness – Becoming and remaining drunk/stoned/high as a giraffe’s ass on God knows what weird imported chemical/ whatever takes time.  Far more time than I can responsibly justify for such frivolities these days.  Way back in the energetic yet carefree days of my 20s, when I snapped awake in the morning, Rockette-kicked my way out of bed, and immediately set upon my daily “Asses to Kick” list, it seemed almost effortless to get through everything I had to in any given day with ample time left over for psychological release through altered states.  Pero no mas.  Now my days start well before dawn and consist almost entirely of a litany of problems to solve and decisions to make.  There are simply no blocks of time I can reasonably block out for intentional non-functionality.
  2. Fight Training – This has been going on for a while now, but as I get within striking distance of a black belt, the training is increasing in both frequency and intensity.  One of the many effects of this has been a more acute awareness/insight/sensitivity into how the things I eat and drink affect energy, stamina, etc.  If I spend Saturday afternoon throwing back whiskey drinks, I can actually feel a difference when training Monday night.  Which brings us to number 3:
  3. I’m Getting Too Old For This Shit – There is simply no getting around the fact that whatever “upside” there once may have been to getting three sheets as I sat beneath the palms in the warm afternoon and drank the whiskey with Fitzgerald and Huxley has greatly diminished, and the “recovery” has become longer and less tolerable.  There used to be a noticeable and appreciated “edge” to the writing that came with a high-octane Jack and Coke.  Maybe it’s because I’ve been doing this so long, maybe it’s because I’m just old and am getting crotchety in my dotage, but the aforementioned edge has long since become a permanent fixture.

So all that’s very well and good…Uncle Jayson finally decided to drink less.  Great.  However, dear reader, almost exactly as I was coming to the conclusions enumerated supra, what I believe to be a far more dangerous drink suddenly appeared on my radar: Dunkin’s Triple Mocha Frozen Coffee.  Just look at this goddamn thing:

Caligula would drink that by the bucket.  And so would I.  I’d drink the shit out of that, and I have, every day for the last goddamn week.  Not a drop of alcohol in them, but I have quickly become convinced they are perhaps the most dangerous beverage I could possibly consume.  I may  suspect the presence of cocaine…jury’s still out.  I find it quite literally addictive.  And okay so maybe they don’t actually put cocaine in these drinks, but I am alarmingly yet pleasantly jacked up after drinking one of these things.  But at this point, I think this jacked-uppedness stems less from the caffeine present and more from the fact that this thing is essentially a thermonuclear sugar-bomb.  I think there is potential for added caffeine, but, curiously, the staff at Dunkin’ seem unwilling to accommodate such requests.  They try to redirect me to a regular mocha latte with as many extra espresso shots as I want.  Which I tried…however, it was just a mocha, pretty much like you’d get anywhere else.  And because my tastebuds have become expectant of the chocolaty perfection of the Triple Mocha Frozen Coffee, I almost spit this bitter beverage across the entirety of the Dunkin’ dining area.  But I didn’t.  Let it not be said that I can’t hold my mud: I chugged the wretched and rather pedestrian beverage like a goddamn man.  And for the next couple of hours, my metabolism was perceptibly accelerated, as per my usual arrangement with caffeine.  But my heart was not filled with joy, not the way it is when I’m downing the TMFC.  Not even close.  I am, dear reader, afraid that I have experienced a sudden-onset addiction, similar to what the smokers of crack and the chasers of the dragon claim to experience: one hit and you’re instantly addicted.

But my tale of woe and insidious addiction gets even worse from there, dear reader…for the source of my supply is Dunkin’ DONUTS.  It just seems like a waste to trek out into the matrix to a Dunkin’ Donuts and not return with any donuts.  That’s just weird.  And Lord knows I don’t want anybody to think I’m weird.  So each of my TMFC purchases is coupled with a half-dozen/full-dozen order of delicious donuts.  And donuts are truly made to be enjoyed when they are fresh, i.e., within the first 12 hours of their creation.  I’ve had, like, 40 donuts this week.  Pretty sure the only reason I haven’t absolutely ballooned in weight is because of my quadrupled metabolism rate induced by the various vintages of caffeine I’ve ingested simultaneously with the donuts.

We’ll see what happens next week.


A brief bit of dark Dead Poets business: on this 28th day of March, the DPS requests you respectfully pour some out for Virginia Woolf, who died on this day in 1941 by suicide.  She didn’t just wake up and decide to check out – she had waged a quiet, fierce rebellion against the demons that had clawed at her mind for years.  She filled her coat pockets with stones, heavy and cold, each one a silent testament to the weight she’d carried her whole life.  Then she walked straight into the River Ouse and let the icy waters swallow her whole.  She left a note to her husband Leonard, scribbled with a trembling hand, saying she couldn’t bear the madness any longer and that she was certain she’d never recover this time.  Her novels – Mrs. Dalloway, To the Lighthouse, The Waves – rewrote what fiction could do.  Her final act was tragic, but there’s a haunting power in how she chose her exit, a middle finger to the forces that tried to break her.

N.P.: “I Don’t Know What Drowning Proves” – Participant

March 13, 2025

It’s March 13, and the Beats keep on beating.  Yesterday we delved into the mind of Jack Kerouac…today we focus on one Allen Ginsberg.  On this day in 1970, Beat poet Allen Ginsberg arrested by Miami cops for “obscenity” during a reading.  (I tried a couple times to get arrested for obscenity during a couple of readings…didn’t work.)  Ginsberg – shaggy, bearded, and unapologetic – was reciting his raw, boundary-smashing poetry, like Howl or something equally unfiltered.  He’d put a weed up the establishment’s ass since the ’50s, and this arrest was just another badge of honor.  As I mentioned yesterday, The Beats didn’t just write – they lived their defiance, and Ginsberg’s willingness to face cuffs for his words was perfectly typical.  He beat the charge later, natch, proving the pen’s might over the paddy wagon.

Born June 3, 1926, in Newark, New Jersey, Ginsberg became the Beat Generation’s howling prophet, a poet who ignited a cultural shift.  His work, especially Howl and Other Poems (1956) – smashed through mid-century America’s buttoned-up norms, blending jazz rhythms, spiritual hunger, and a middle finger to conformity.

Ginsberg’s masterpiece, Howl, dropped like a bomb in 1955 when he first read it at San Francisco’s Six Gallery.  “I saw the best minds of my generation destroyed by madness, starving hysterical naked” – that opening line hit like a freight train, a wail for the misfits, junkies, and dreamers chewed up by post-war America.  It’s a three-part epic: Part 1 mourns the lost, Part II curses the industrial “Moloch” devouring souls, and Part III chants solidarity with Carl Solomon, a friend from the psychiatric ward.

The poem’s free-verse sprawl – long, breathless lines echoing Walt Whitman and jazz improv – broke every rule of tidy, academic poetry of the time.  It was visceral, sexual, and loud, landing publisher Lawrence Ferlinghetti in an obscenity trial in 1957 (he won, cementing its legend).  Howl truly roared, giving voice to a generation that felt suffocated.

Of course, Ginsberg wasn’t a lone wolf – he was the glue of the Beats.  He met Jack Kerouac and William S. Burroughs at Columbia University in the ’40s, and their friendship fueled a literary uprising.  Kerouac’s road rambles inspired Howl’s energy; Burrough’s dark surrealism pushed its edges.  Ginsberg turned their shared ethos – spontaneity, authenticity, rebellion – into some pretty electric verse.  He also mentored younger Beats like Gregory Corse and amplified their work, hosting readings that turned poetry into a communal act.  That arrest in 1970 – just one of many run-ins – showed he was a threat to the status quo.

Ginsberg didn’t stop with Howl.  Kaddish (1961), a gut-wrenching elegy for his mother Naomi, who battled mental illness, digs into personal grief in a uniquely deep way.  Lines like “Dreams! adorations! Illuminations! religions! the whole boatload of sensitive bullshit!” mix reverence and irreverence, hallmark of Ginsberg’s style.

Ginsberg’s biggest flex was making poetry dangerous again.  Before him, the 1950s poetry scene was getting a bit stiff (think T.S. Eliot’s cerebral puzzles or Robert Frost’s rather pastoral polish.  Bob Dylan cited Howl as a spark; the hippies really dug his bearded guru vibe.  His readings, often with music or chants, turned poetry into performance art.

Ginsberg co-founded the Jack Kerouac School of Disembodied Poetics at Naropa University in 1974, mentoring poets will Anne Waldman.  Punk icons like Patti Smith and The Clash’s Joe Strummer drank from his well…his rhythm and defiance echo in their work.  Critics bitched, as they do: he was too crude, too loud.  But that was the point.  He died in 1997, but his chants still haunt open mics.

Pour some out for Uncle Allen…for keeping it real.

N.P.: “Werewolves of London” – Cat Mantra

March 12, 2025

Happy Hump Day, dear reader.  Today is a rather significant day on the Dead Poets Society calendar, so let’s get to it.  Today is Jack Kerouac Day!

Ever heard of Jack Kerouac and/or the Beat Generation?  How about On the Road?  Ever get shit-housed on a bottle of cheap Port and try to write a book by the time that rotten sun comes up?  I certainly have.  But you’re a No?  Well, shit.  I guess I’m no longer surprised by such things, but I shall include you in my nightly prayers nonetheless.

On March 12, 1922, Jack Kerouac burst onto the scene in Lowell, Massachusetts.  The Beat Generation’s wild child, he wrote On the Road in a three-week amphetamine-fueled spree, hammering it out on a single scroll of paper.  [I’ve recently wondered about how Kerouac would have viewed the endless digital paper now available to all writers.  My guess is he’d be thrilled.]  It’s a raw, kinetic hymn to freedom – hitchhiking, jazz, and living fast – capturing the restless spirit of post-war America.  Kerouac was not another mincing desk-bound scribe; he lived the chaos he wrote, drinking hard and rambling with icons like Neal Cassady.  His spontaneous prose kicked the door down for a new kind of literature, making him a rebel king whose influence still roars.  He turned the road into a revolution.

Kerouac’s influence on the Beat Generation was seismic – he was its pulse, its voice, its restless soul.  He crystallized a post-war counterculture that rejected the tidy, consumerist 1950s American Dream for something rawer, freer, and messier.  The Beats were poets, writers, and wanderers (Allen Ginsburg, William S. Burroughs, Neal Cassady – who craved authenticity over suburbia, and Kerouac was their reluctant poster boy.

The Beat Generation – coined from “beaten down” or “beatific,” depending on who you ask – was about shaking of the shackles of convention.  Kerouac gave it legs with On the Road (1957), a semi-autobiographical novel tracking his cross-country treks with Cassady (recase as the wild Dean Moriarty).  It’s less a story, more a vibe: jazz riffs, cheap diners, and the open highway as a middle finger to the 9-5 grind.  He tapped into a post-WWII restlessness – vets, dreamers, and misfits who felt the world was too big to stay put.  His mantra of “spontaneous prose” – writing without revision, like a jazz-solo – became the Beat calling card, urging writers to let it rip, unfiltered.

Kerouac’s style was his rebellion.  He hated the polished, academic prose of the time, so he wrote how he talked – fast, loose, and alive.   As mentioned supra, he famously banged out On the Road on a 120-foot scroll of taped-together paper, single-spaced, over three Benzedrine-fueled weeks in 1951 (though he’d been sketching it for years).  Lines like “The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved” hit like a drumbeat – urgent, unapologetic.  He pulled from jazz giants like Charlie Parker, aiming for that same improvisational flow.  On the Road was a manifesto for living without a net.  His other works – like The Dharma Bums (1958), with its Zen-tinged mountain rambles, or Big Sur (1962), a darker dive into his unraveling – kept the Beat fire burning.  They showed the flip side: the spiritual hunger, the burnout, the cost of freedom.  Ginsberg called him the “King of the Beats,” and you see it in how his voice bled into Howl (1956) or Burroughs cut-up chaos in Naked Lunch (1959).

Kerouac’s influence wasn’t just on the page – it was how he lived  He hitchhiked with Cassady, crashed in San Francisco’s North Beach, and drank with poets in Greenwich Village.  His French-Canadian roots and Catholic guilt gave his work a haunted depth, but he chased the now – booze, Buddhism, and all-night rants.  Cassady was his muse, their letters and road trips were Beat gospel.  Kerouac’s refusal to settle down – until fame and alcohol wore him out – mirrored the characters he wrote, making him a walking symbol of the movement’s highs and lows.

The Beats didn’t stay small.  Kerouac’s work lit a fuse for the 1960s counterculture – hippies, Dylan’s lyrics, even Hunter S. Thompson’s gonzo style.  On the Road sold millions, turning gas stations into pilgrimage stops for kids craving escape.  Critics sneered, as they do – Truman Capote thought it was “typing, not writing” – but I think he missed the point: Kerouac made literature feel dangerous again.  He influenced everyone from Tom Waits to Patti Smith, who called him a “wilderness saint.”

Kerouac didn’t wear the crown easily.  By the late ’50s, he was a reluctant celebrity, hounded by fans and mocked by squares.  He drank harder, retreated to Lowell, and died at 47 in 1969 from a liver wrecked by years of excess.  The Beat flame he lit burned him out – but it never dimmed his mark.

Happy birthday, Uncle Jack!

N.P.: “October in the Railroad Earth (with Steve Allen) – Jack Kerouac

March 11, 2025

After many years, apparently Morpheus has decided to end his absence from my life.  I’ve recently started dreaming again and I don’t care for it.  In fact, I find it rather annoying.  I guess I should consider myself lucky: Uncle Morphy has never plagued me with nightmares, night terrors, or the hellish-sounding sleep paralysis. But a good panic-inducing nightmare might actually be refreshing at this point.  My dreams, dear reader, have become extraordinarily mundane.  Typical, even. Take last night, for example. I dreamt that I was back in community college as a student, showing up after a long absence only to find it was final exam day, and I was woefully unprepared. Sound familiar? That’s what I mean…who hasn’t had the same or similar dreams hundreds of times in their lives? Back in my adolescent years, this terror-inducing trope was at least somewhat applicable to my waking world. But now it has grown positively boring. I keep dreaming about common interactions that apparently my subconscious thinks are relevant, but I can assure you they are not. But while I’m in the dream, I’m having to deal with someone’s whining, or some issue someone has with me, and trying to resolve the issue, which stresses me out and causes disruption in my sleep. Then I wake up, immediately realize the problem and people (typically) don’t even exist, and the entire dream was just a lame fuck-around. What once would have brought on cold sweats and heart palpitations now barely warrant a yawn as I open my eyes at dawn. Maybe Morpheus is just messing with me. But I refuse to relinquish my hard-won peace of mind to the whims of a capricious dream-weaver. I can only surmise that Morpheus is attempting to lull me back into a state of complacency before unleashing his more twisted creations upon me. But I don’t know…nobody’s talking.

And so much for all that.  We have a bit of DPS business to attend to today.  Because on this day in 1544, Italian poet Torquato Tasso was born in Sorrento, near Naples.  I’m sure you’ve never heard of him, literate reader, but you can trust me on this one: dude was a literary firebrand – his epic Jerusalem Delivered (1581) is a blood-and-guts tale of the First Crusade, packed with heroic knights, clashing swords, and a defiant spirit.  Tasso’s life was as wild as his work: he battle mental illness, got locked up in a madhouse by the Duke of Ferrara for seven years, and still managed to crank out verse that’s revered still.  He was set to be crowned “King of Poets” by the Pope in 1595, but he died just days before the ceremony – talk about a tragic, badass exit.  His mix of brilliance and chaos make him a legend.  Happy Birthday, Uncle Torq!

N.P.: “Hot Stuff” – Voxxx