My living room is flooding, waist deep, and I can do nothing
but quiver and hope, like an earwig fallen from the curtain folds
of someone else's bathtub dream. I slip down the white sides
of sleep into morning's muddle, dehydrated, seeking
the flesh and burst of a grape.
This is an unfamiliar house, filled with familiar people who don't
belong together, who don't belong together
just as the courses of a fine dinner are not stirred
willy-nilly and drunk from a skinny glass
like so much Slim-Fast. I squirm through
clouds, dodging uncomfortable greetings,
Detroit-sized potholes, knowing that on these premises
are two people here to take me to a new home.
The rolled up art in the kitchen offers direction,
but its nuances blur into the din of too many friends on one couch.
Guilt extinguishes my street-corner cigarette, leaves no recourse
but the sip of a whiskey and tonic, the night's record,
and the resolve to try, tomorrow.
Today, an endless, recombinant, and fundamentally social process generates
countless hours of creative product (another antique term?). To say that this
poses a threat to the record industry is simply comic. The record industry,
though it may not know it yet, has gone the way of the record. Instead, the
recombinant (the bootleg, the remix, the mash-up) has become the characteristic
pivot at the turn of our two centuries.
-- William Gibson
This page was last modified on 2011 December 20. "Last Night in Lansing" by John Sullivan is Copyright ©2003 - 2011, and licensed under the Creative Commons Attribution-Share Alike 3.0 United States License.