Chernicia and her loyal band of
roving youth choir administrators
saw no choice
other than to take up stopgap freelance work.
Due to a general malaise
and rapidly-growing apprehension
toward patronizing or participating in
the performing arts (the anti-exceptionalist
herd mentality showed absolutely no signs of
dissipation as professionals of all stripes
traversed the barren corporate landscape
(a hell to be wished upon no soul)), all hope
seemed lost on the fearful.
Interest in the once-alluring
middle and high school competitive circuit
had been waning steadily for a generation or so,
to the point where even the most stalwart
paper-shuffling masochists out there
had to admit they were licked.
In this devastating climate, Chernicia figured
that some places out there
still need to enlist the services
of highly-competent youth choir administrators.
They took an oath in front of the children,
for Christ’s sake!
They vowed, on bended knee,
to make themselves
available for freelance filing (and HR concerns)
at the drop of a hat, whenever duty may come calling.
So just like that, they picked up and left–
no matter what their guts happened to be
telling them (the group’s average duodenum
could paint you the idyllic picture
where they’d carved out a sort of haven
in this life of more uncertainty than trust).
Many tearful (and gut-wrenching) goodbyes
after they developed the steely resolve
to give up their past selves
(for the children, dammit),
the brave and intrepid band set out
on their first assignment: Gurnee, Illinois.
They never did look back.
And to this very day,
rental cars and hotel rooms
still serve as their only refuge
from the vast desert of abandoned office complexes.
Slammin’ the fit-o-deena–ground lengthwise across a bawdy expanse of thneeds
(which everybody needs)–we took our serenades elsewhere, confident in our knowledge of the occult (i.e. the back-stabbery and latent overall treachery that sorts itself out over the course of dozens of generations) and its ability to stall disbelief as one would when faced with a Mel Brooks-esque (or, to a lesser extent, Mel Blanc-ish) dilemma involving the safety of an entire town, where the hapless protagonist even agonizes over the insignificant-yet-unique blood splotch patterns on each and every last hitching post (with the hopes of creating a permanent photographical installment at the Getty and cementing his status as one of the pioneers of pre-modernized main street massacre legacy documentation that would span the seldom-understood and often-demonized “Wild West” (that is, if he has anything to say about it)).
“Turn strange, fair beefeater,”
Curtisson mentioned on the car ride
over to the museum. “Your
leaves behind the tragic old
misconception of the garlic-laden
bindling-gebaut, untold though
not unmade or unmasked, undeveloped,
penning the pennies through the portrait
of a golem in trouble with the law.”
Is that man’s law or God’s law?
I prefer to think of it as God slaw:
nice and crunchy with a musical quality
once it’s making its way back to the soil.
“We only have sevenscore paper clips
left in the entire warehouse; I said
we shouldn’t panic, but I was putting on
my brave face, hoping things would
turn themselves around. But they’ve just
turned strange, fair beefeater, and
we’d better figure out our whole
monument situation, pronto.”
Late, and it’s already gone.
The time for appropriation
left with the stage coaches
when the buffalo all died.
Skulls, ribcages, femurs rest
their weary bones on the turf–
muscle-laden monsters munched
upon the delicate roughage,
sure to save enough for later–
The grass is enshrining them,
filling in the rib spaces and placing
flickering votive candles on the scene.