Reel Poets Episode 018 Endless Poetry

Non and common sense get lobotomized Online poetry is simplified to I mass metaphor closures as similesis expire on like addicts who like to spit like fire routinely peppering their like comparisons Sort of like sous chefs sprinkling season on tripe as personification gets so objectified it's embarrassing Onomatopoeia crashes and craps out for getting to wipe Even alliteration gets pneumonia Tries recruiting fruit flies for hire instead Places gnats on nights that will disown ya cause their silent psalms don't believe the liar AI lipo sucks up all human emotion Speeches steeped in hate excrete an anti love potion Writer's block ruins the ocean from rising heat Imaginations lose independence as too many IOUs make assonance obsolete Hyperbole chokes on a horse named jazz Oxymorons are canceled by a small crowd unjustly justifying its extinct life.

The deafening silence of spoken word gets too loud as unfair stereotypes turn off all the mics.

Freedom of expression is locked up and trapped.

Idioms add insult to injury and break a leg.

Grants dry up and publishing houses collapse.

Hubris takes all classic poems down a peg Ay yai yai the end of poetry stripped of the try dies form and structure buckle from extra syllables and missing lines.

Odes are criticized and dismissed in despair Rhyme travelers stuck in silver toilets confine yesterday's bright ideas to exhaust in nightmare.

Originality autocorrects into a predictable text Unoriginality repeats itself into a predictable text.

Repetition checks out from always knowing what's next.

Red beards and bluebeards start to pirate.

Poeticas indifferent toward planks.

They go overboard on puns, gobbledydygook galore, all as inaccessible bunk hell.

It's incomprehensible, indefensible as written verse.

The pros are conned, even essayists dismayed.

So with one last breath this elegy fades.

Real Poets is an audio only podcast that can also be visually read like roses or When a director juxtaposes his or her most imposing reposes with characters, settings and themes composed of thrilling soundscapes, highest of stakes and dreams.

Hosted by a duo of real Poets about real poets and the real poetry they've written and the films that have been written about them and their work.

Join us each week as we talk to another real poet with something to say and how a real Poetry movie influenced them in some way.

Then we each write a new poem inspired by our most recent viewing of the film and share it with all of you.

Waha.

Are we in it?

Are we in it?

In it.

Let's get in it.

It's been a bit.

It's been a bit, all right.

Talking about endless poetry, but it hasn't been ended.

Both of us are deep, deep in the.

The sea of poetry right now.

Yeah.

Welcome, everyone.

I'm Renzo del Castillo.

This, as always, is Scott Raven with three T's.

That's his rap name.

And we are going to talk about Scott, one of your favorite artists.

Adventure, right?

Jodorowsky is one of your favorite artists.

Correct.

Could you give us a little bit of a background?

You tell us what Jodorowsky means to you and how we.

How we got here.

The Alejandro Jodorowsky.

Yeah.

I love that you introduced him as the artist Alejandro Jodorowsky, because his influence pretty much dips into so many other realms of art.

I guess my first run in with him was like a bootleg copy of one of his movies that the producer for one of my spoken word albums, like, gave it to me.

Like, this was back in the days, I guess, of like Napster.

And because it was really very difficult to get a hold of any of his movies, and I got slipped Holy Mountain, one of his, his opuses, we will say.

Kind of a surrealist, just psychedelic movie I would describe, but Alejandro Jodorowsky, the.

The.

The person of Chilean and French descent.

You know, he's created films, he's created comic books.

He's a known Tarot reader.

I've been fascinated with him for.

For.

For.

For my whole life.

I believe he's like in his late 90s right now, still creating art, I'm hoping.

Living in Paris, right?

He's living in Paris right now.

Living in Paris, Yes.

With his, his current partner.

Yeah, he's.

He's pretty much.

I don't know how I would describe, but like a collection of symbols of influences.

He's.

He's a student of the world and he has, you know, like.

Yeah, I mean, to.

To have lived, you know, as long as he has pure artists through and through.

I mean, this man, you know, visual artist, literary artist, as well as a mime.

I mean, he.

He studied with Marcel Marceau.

He studied deeply in.

In mime.

And it's amazing that, as you'll see with Endless Poetry, it doesn't stop with him.

He spread this to his sons appear in the movie.

So, like, his, his influence is.

Is.

Is reverberating not only with the rest of the world, but, but with.

With his own.

With his own Family.

I don't know how much we want to go into kind of his personal life.

I was doing some other reading about that.

I know he studied.

You know, he.

In addition to mime, he.

He worked in the circus for a while, which has to have been, you know, a really cool experience.

And you see that in a lot of his movies.

But early on, I don't know, according to Wikipedia here, he was a product actually of sexual assault.

He came from an abusive father that both physically and had sexually assaulted his mother.

Now, you don't see that in the movie, the direct correspondence, even though it is kind of autobiographical.

You don't.

He doesn't, I guess, presented as literally as.

As it.

As it may have occurred.

Well, why don't we.

Why don't we start talking about the movie?

But I.

For me, this was an amazing treat because, you know, I.

You're my friend, but I also respect you as an artist, and it's always great for me to see what artists are passionate about, and you're incredibly passionate about this.

You've been telling me we need to do these since even before we even thought about doing a podcast about poetry.

You're like, you got to watch this, you got to watch that.

You know, you got to watch Endless Poetry, which is a follow up to the Dance of Reality, La Danza, La Ravidad, which is the first of these two films that explore his autobiographical exploration.

But I am gonna ask you, as we go through this and talk about the movie, what Jodorowsky's art has meant to you and how it has inspired you.

Because he is an artist.

Yes.

But he's also a surrealist, and there's aspects to that in your work.

Scott, you feel free to pepper in any really cool facts, because this is your guys.

So you probably know a lot of really cool facts about him.

That sound about right.

Sounds great.

Have you.

Have you had a chance to.

To see any of.

To absorb any of his other work since.

Yeah, not since watching this.

I still need to see that.

Spoiler.

That's the next one that we're going to cover on this.

We're going to do a.

A diptych dive into Jodorowsky.

But I. I have it.

I. I rented it.

I just need to hit play to get those two days of rent.

I've seen El Doo.

I've seen some other stuff from him, but a while ago.

Right.

You're the one who got me reinterested in going on a Jodorowsky kick.

Yeah.

Because, I mean, they're all of them worth.

Worth a revisit.

Just.

I, I find myself discovering new things every time.

Of course I watch.

We'll get in.

You know, there's some, I guess, controversy, you know, you know, around him a little bit.

We can get into that maybe a little bit later.

But like I, above all, I like, I hope he's still creating because the movie, it does preclude that there's more story, of course to tell.

You know, you're fighting with, you know, he's 98, but.

But he had plans for it being like a five part.

Yeah.

And maybe his children will keep going with it.

Right.

He did involve them in the family business.

He is 98, but I know for a fact, because I've started following him on Instagram, that he puts out content almost daily.

Right.

It's either a thought, a meditation, whether.

It achieves the endless poetry.

Yeah.

The essence.

Essence of poetry and the way with, with which it's.

It's represented.

I mean it's, it's him spontaneously breaking out into poem throughout Several, Several, several points.

There's several poets that he rubs shoulders with throughout.

One of which he has a relationship with.

What's the.

Stella.

Stella Varin, I believe.

Yeah.

I forget her name, but she is the redheaded woman, right?

Yeah.

And who incidentally plays the same actress, plays his mother.

The, the layering of that and.

Oh, it's just.

Yeah.

And then the, the best.

The, you know, the story of friendship.

The fellow poet that he, that he meets as well, based on another poet, Enrique Lean.

Yeah.

There's poems that, that they're visual poems without words that, that occur throughout the movie.

And there are actual yet poems I've never read in particular a collection of his poetry per se.

It's all just, it is poetic.

This is a man who I feel lives poetically through and through.

I mean like you talk about his Instagram videos, he's walking just in, you know, different patterns on, on the ground and he makes, you know, kind of like the joy of life is, is expressed.

There's a point in.

Point in the film when he's with that poet Enrique, and they decide to just walk straight from without, you know, anything in between.

Just.

All right, let's walk straight.

And if we encounter something, what do you do?

We over.

Right.

We overcome it with, with our art.

It was the whole point.

Right.

I. I love.

I mean just what door can you knock?

Can you walk through, climb over?

Symbolism.

Right.

That's because it's like to me, art is communication and I'm seeing That reflected in that scene in the film.

Because how are they going to get through this building?

That's in their way.

They knock on the door and communicate their intent to the owner of the place who has every right to bar them.

And she's like, well, okay.

Right.

Okay, come in.

So they use communication to continue moving forward, which to me is something that art, that poetry does.

Right.

You use communication to achieve a new goal, to get to another place, to reach an understanding.

Correct.

He.

The, the.

The work is always filled with, I guess, contradictions as well.

I mean, or, or opposites.

He studied with a famed Buddhist for a while too.

So I notice throughout there's a Zen Buddhist element, a kind of a yin and yang to everything he does.

You can see both the presentation of something and it's opposite.

Like where he's.

You could say he's anti family or anti, anti religion or whatever.

But at the same time you're, you're learning a lot about, about religion.

You're.

You're seeing a family healed throughout, throughout this, this, this process.

There's so many touchstone moments.

The first visual image that strikes me was that cutting down of the tree early on, if you remember, the family tree, where, where.

Yeah, he actually physically is cutting that tree.

And that comes after a scene where I believe he's like seeing his family and they're like cheating at cards and.

Yeah, like he's just not really relating, relating to them.

He wants to pursue this, this artistic path.

Well, he literally cuts down the family tree when he tells them, I'm not going to be a doctor, I'm going to be a poet.

And then he goes outside and figuratively, literally cut down the family tree.

Right.

Like.

Right.

So it goes from, from the literal sense.

Sorry.

To symbol, you know, symbolically clust the tree.

So from the literal sense to the symbolic sense, he does it, It.

It bookends that scene.

Right.

So this, I guess this is an interesting question.

To be, to be an effective, to be an artist.

I still do.

You need to have an understanding of those things with which you might have rejected.

So for instance, he's rejecting a life as a doctor or as a lawyer.

Yet it's my view, I believe, to be an effective artist.

Yes.

You still need to understand some aspects of science, some aspects of, of medicine, of obviously, you know, communications.

I would more acquaint.

He has the soul of a poet through and through the, the level of knowledge and.

I don't know.

Yeah, like you, you still have that, that understanding.

I, I look to Dali a lot who he was, I'd assume an influence of his.

Dali could paint the anatomy of a person.

He could perfectly recreate, you know, something to its finest details yet.

He could also draw a surrealist masterpiece, but it still had the fundamentals of art.

This is where.

This is how a body, it has, like, kind of a grounding in realism, yet there is such an imaginative quality.

I. I wonder what you think of that.

Of.

Does the artist also need to have kind of the information, the right information in alternate fields?

You know, it's.

I feel like you're softballing me that question, because when I go on podcast, when I talk about this, they ask me, are you an executive?

You know, based on my 15 years working in healthcare companies in corporate America.

Are you a poet?

And I'm like, I'm Renzo.

I'm both.

So I think you don't need to have that understanding to be a poet, but if you're going to speak your truth and that understanding is part of your truth, you do need that, right?

So, for example, you talk about Dali being extremely skilled at representing accurate representations of the human body, but choosing to show through his poetic process, his artistic process, what he wants to emphasize, the surrealism, this dripping, these other representations.

He's trying to show us what he sees.

Doesn't mean that the other thing is either or.

Because if you look and you analyze all these paintings, whatever is there is accurate.

He's just distorting the.

The perspective, right?

So that brings to me a question about, you know, poetry and the artistic process, right?

So at the very beginning, like, the film opens up with this highly stylized scene where, like, you know, child Jodorowsky.

Young, very young.

Not a teenager yet, just a child Jodorowsky.

Or maybe it was the young Jodorowsky.

I'm sorry, he's depicted as writing poetry amidst, like, all these dreamlike landscapes.

Remember that.

Like the very opening of the scene, and then the poems, like, flow through the air and, like, they're alive, right?

And to me, it symbolizes poetry as a force that transcends words, right?

Like they're going past it.

They're becoming images.

They're floating through your screen.

And there's a scene with the mother, which we're going to get into.

The mother.

The mother's interesting where she.

She encourages him to listen to the words.

But it seems like that journey goes beyond what is literally said, right?

Like, it.

It eventually listening to words leads him to these transformative encounters with poets, with mimes, with.

With bohemians all across Chile.

And, you know, let's, let's talk.

Let me, Let me tie this specifically to a scene.

I wrote some stuff down on this.

There's a.

There's a surrealistic sequence where Jawski attends a poetry reading.

I don't know if you remember this because there's some of these.

And the experience is depicted as.

It's not quiet.

It's not this quiet event of like, hey, we're going to read poetry.

We're going to say it's like explosive.

It's chaotic.

It's a moment of artistic and verbal liberation, at least how it's represented to me.

And the poets around him are tearing their words apart.

And he's.

It seems to me he's embodying the idea of poetry as something that's uncontainable but also transformative.

So the reason I'm.

I'm giving this context is what did you find or what did you get from this movie in terms of what poetry is and the artistic process to get to poetry?

Does that question make sense?

Yeah, yeah.

I mean, that, that, you know, that that was a literal poetry event, but the whole film is poetry.

Like it.

Yeah, like a scene with him just talking to his dad while his son is playing his poetry.

I mean, it's.

That, that's the stuff in the, in the cafe.

It's literally poetry.

But I could, I could say that every scene has the poetic.

A poetic stamp of it.

You know, there's.

I, I'm big on.

When it's not words, there's poetic acts.

Okay.

Now, you could call them surrealist acts, but poetic acts.

I mean, you know, the, the, the.

The scene where he actually sleeps with his partner's girlfriend, which is very difficult to watch, but it's somewhat of a poetic act.

Like it's, It's a symbol more than it is itself.

Like, there's, There's a. I'm trying to think of a.

Before going into that one right away.

Yeah.

Even.

I mean.

Yeah.

The dad shaving off his.

His head, like at the end, you know, it's a poetic act.

From what I remember.

Well, cutting the tree down to go back to the scene you were talking about, cutting the tree down was the poetic act, the culmination of his intent and coming to.

And symbolize.

And that's where his cousin, who was gay and had a crush on him, is like, oh, this man is an artist.

Like that.

That's symbolic.

It's one thing to have intent, but when you go and, and pursue the symbolic act, to put it out into the world to create, or even he created by destroying or cutting ties with his lineage.

Right, right.

Then people are recognizing this as an act of poetry.

Right.

Like there's that.

That moment of inflection.

Right.

Because I. I bring that up because you don't really.

I mean, aside from it not really being that entertaining to watch, you don't see him write much throughout the movie.

Like.

Like it's.

It's creation.

It's.

He's.

He's living life and that's the poetry.

You don't, you know, you don't see him crafting this and a lot of his films who know, you know, like, whether I. I don't really picture him as much just writing for long periods of time.

He's living and capturing it, you know, on film.

Yet he was a known comic book artist as well.

And, you know, so he would draw and work with illustrators, but also draw as well as write comic books, which may be a little bit more of what his internal stuff is.

For those that don't know, he wrote this comic book series called the Incal, which I would highly recommend.

Recommend to people.

A lot of it seems to have been what you might see in, like, the movie Fifth Element.

But some of the ideas were what his Dune movie would have been like as well.

He was.

He was pinned to.

To direct Dune before Frank Herbert had done his version.

And for budget reasons, some other reasons.

It didn't.

It didn't get.

Didn't get selected in any event.

Yeah.

Trying to think of all different representations, you know, poetry wise one, that he brings to mind.

This is a little off topic is there's.

He tells the story of someone that was feeling that she had something inside her.

I don't know if it was a tumor or some sort of growth in her stomach.

And he creates kind of this shamanistic experience for this woman where he kind of like lays her out and he pulls these.

What appears to be, like, her guts out, but it's.

It happens to be like, you know, I guess pastas and jellies and.

And the experience with him becomes healing to her.

He's able to free her of some, you know, maybe any stresses or things that she's holding on to that might be causing that to worsen or get.

Now, those that, you know, believe in, of course, modern medicine would immediately, you know, reject, like, okay, what is this bunk?

But I tend to believe that, all right, that that type of stuff can play a factor in a healing.

In a healing process, releasing certain stress and being able to, you know, Heal kind of a person's soul in some respects can.

Can help with their overall physical health.

The.

There's a, There's a book, the Spiritual Journey of Alejandro Jodorowsky, that goes into a lot more of these things, these poetic acts that I talk of that if you're interested in kind of reading more about him, he kind of goes.

Goes through a lot of.

A lot of those.

Yeah.

I think that one of the things, I don't know if I completely agree with this, I do think it's part of it, but it seems one of the central tenets that he has is that.

And there's a scene where the older, like actual Jodorowsky comes up, right.

And he describes the role of the artist as one of sacrifice, that as an artist you have to suffer to create anything of meaning.

And you know, the idea is embodied in the character of a poet who suffers through personal pain and yet continues to write, symbolizing the artist's burden.

Right?

So maybe the issue when he sleeps with his friend's lover and now his friend suffers and then they have a scene that culminates in him like violently, violently telling his friend that he, like he needs to go and create and like he loves him and that she loves him and that the world loves him.

And the guy's like, ah, now I have something to write about.

Now I have something about me with meaning to say.

Or his relationship with Stella, with the red headed woman who is played by the same actress as his mother.

He, you know, he lives poetically with her for a while.

He renounces his world before, but he still goes back to it to get funds to be able, like he does make a point to show that to be able to live poetically he needed to go steal money from his parents, but it's justified in the sense that he's gonna go and.

And live, you know, live this life with this woman who ends up being the lover of Nicanorpara as well.

And he eventually overcomes her and suffers, but emerges a much more complete, much more well rounded poet.

So what do you think about what I'm getting from this movie?

Is that you need to suffer to create meaning.

And I think you need to live to create meaning.

Suffering is part of life.

Joy is part of life.

Boredom is part of life too.

I think you need to experience life as a whole.

But what I'm getting from the movie, and maybe you disagree, is that suffering is a core tenet to create work that's filled with meaning.

Right.

And from what I've Read of his, he talks about the poetic act being positive, and I don't know if he came to that, like it should have a positive effect.

A lot of his early movies tend, they tend to be violent, sometimes even sexually violent at times.

But I tend to align with what you're saying as well, that, that it's life.

And he has that too.

Whether that was maybe something that came from his youth, since we are seeing his youth, that you have to suffer.

I mean, a degree of trauma, of suffering can be, of course, a catalyzing force in your creation of art.

I can think that having something when you're young that kind of directs you into an artistic path.

Yes, that, that it is an ingredient of, of a great artist having, having some sort of pain, some sort of trauma.

When you are birthing yourself as an artist and when something like that happens within your youth, there is a point where what do you do with the feelings that come up from that event?

Do you pour that into something in the arts or do you pour that into something outside of the arts and those that have that pain and follow it right from that moment?

You know, that that is an ingredient, I believe, of, of a great, of a great artist.

Now, let's take somebody that, yes, you know, grew up without a care, you know, in the world, lived a pretty privileged life insulated from, from any type of pain.

You know, what, what are they going to write about?

What are they going to create?

Now, one could say, okay, by living life, you may have interaction with people who have, and that, you know, your living experiences with which you are able to reflect their story as opposed to your own own personal one.

So that, that would be, you know, I'm, I'm arguing both sides a little bit here.

I'm trying, I'm trying to think.

I tend to agree with you, but now that I think, you know, in the youth to have some sort of event, you know, I'm, it's no, you know, for me, of course, you know, having lost my mom at a young age, that becomes, you know, my artistic pulse into everything that, that I do.

You know, like, like I, I, I was interested in, in theatrics and arts and, and the other ingredient for me was, yeah, that openness with which to engage with, with the artistic world with people that are, that are in, that are into art that are fully alive as well.

What opens somebody up to be able to do that, though?

You know, like, like people can be bold in life or people can be pretty closed off to life.

I think the arts yeah.

Allow you, you know, I mean, to.

To do that.

Speak, Speak a little bit about.

About that on your end.

I mean, you know, you're, You're.

You have catalyzing events, of course, in your.

In your childhood and youth that, that of course, dictate your artistic path.

Yeah, definitely.

My.

You know, for me, a big concern was always displacement and survival.

Being an immigrant.

My parents divorce at an early age was pretty traumatic in the way that it went down, but it's.

So are you.

The other.

Those that.

That haven't had that experience, can they become a great artist or create?

I. I think you.

I think you can.

Right.

Because even before those things, I was lucky enough that I was able to start reading at an early age.

So I was reading poetry, right?

I was reading poetry, I was reading stories.

I, I think I told you I read the Count of Monte Cristo when I was 7.

So I don't know if my parents should have let me read that.

It was the abridged version.

It was the abridged.

It wasn't the unabridged.

But.

But I dreamt of these adventures.

I dreamt of going in.

And I think that was also a big part of my foundation to the art that I produce now.

Right.

Like, the suffering is part of it, but it also.

The joy of adventure and being exposed to these other things, these other joys.

Right.

Or the, or the suffering of the characters in a book like the Count of Monte Cristo as an example.

But I. I think you touched on something important.

You mentioned your mother's passing as a catalyst.

I talked about my parents just a tiny bit, and I'd like to talk about the parallels between his.

The way his parents are represented, his paternal and maternal figures versus his other paternal and maternal figures, which are Nico, Nor Parra and Stella.

Right?

So you have.

You have his Jodorowsky's father.

He's typically at the beginning of the movie, depicted as larger than life, neutered when he goes Samson and gets his hair cut, right?

Gets shorn, but he has, like, this hair.

He's larger than life.

He's almost a mythical figure in how he's portrayed at the beginning of the movie.

At one point, he's shown as this towering godlike figure whose shadow looms over the young Jodorowsky, representing this.

This oppressive patriarchal control.

And later, his father is literally transformed into a puppet controlled by the mother.

Right.

Symbolizing, I think, Jodorowsky's eventual ability to transcend the limitations placed on him by his authoritarian father.

And you Also have his mother, who's a more passive but loving figure, only speaking in songs, still tied to these emotional, like family, like people pleasing within her family, within her marriage.

You know, in one scene she's lying on the floor covered.

Covered in.

In white cloth, if you remember this.

And to me it shows like a surrender to the husband's authority, but yet she also has these nurturing qualities that encourage him to embrace poetry despite his father's opposition.

And then you have Nicanorpara, who at the very beginning of the movie is.

Is.

It serves as his mentor.

He is sleeping.

He's the other lover of Stella, who's played by the mom.

So you have like the paternal figure having sex with the mut.

Like his father has.

Has sex with his mother within the movie.

It's depicted.

It's very boring, very bland, whatever.

And then you have Nicanorpara, his other paternal figure that is the lover of Stella, who is played by his mom, who is his lover in this whole like, edible, like Rubik's Cube of a maze.

And.

And he, you know, like Para's original unorthodox approach to poetry that.

That is depicted as breaking traditional forms and norms.

Right.

Like they even make fun of Neruda, who tends to be a bit more traditional.

It's.

It's depicted as revolutionary to his cultural awakening.

Right.

And.

And it challenges his Jodorowsky's, his understanding of poetry, urging him to embrace chaos, a little bit more emotional rationalism.

But then later, later towards the end of the film, when he's looking to him for guidance on what to do when Chile is becoming more right wing, he's like, hey, just.

Just living it by, letting him down.

It's almost like he's like what he inspired him to do.

It's this, this opposing thing.

And then at the end when he meets with his father and he recreates what their goodbye was like, he comes to this understanding with his father.

So I see these like, paternal figures, this trauma being the driving force, it bookends the movie.

It's represented like he also has characters within his story representing his parents or paternal guidance.

So where was I?

Okay, so talking of the paternal relationship by the end.

Yeah, so I'm just showing these parallels of these paternal figures recreated in other people in his life.

There's this whole edible thing to his mother there.

And it's funny because his mom and dad obviously have a sexual relationship and his paternal and maternal figure also, Stella and Nicanor, also have a sexual component to their relationship.

So my question pretty simply is like, what do you make of that?

We were talking about the trauma that drives creation.

What, I mean, are you, am I reaching or are you seeing something similar to what I'm seeing?

Yeah, yeah.

I mean, they're, they're, they're his parents, but they're also symbols too, for his parents.

I, I, that the relationship that he has with Stella.

I thought I read that.

Like, it's not a sexual relationship necessarily.

Like, it's, it's not penetrative sexually or whatever.

They, they have the scene where it's just them kind of touching, but they, they, they.

Yeah, it's naked cuddling.

At least.

Naked cuddling.

To hear that.

That's how, you know.

And then he was conceived, you know, through, through a bit of a violent act.

Like, man, he.

You remember the beginning of El Topo?

Talk me through it.

He's out in the desert.

He's on the.

There's like the, the character that he eventually becomes is.

He's like a, A baby.

He watches his mom kind of die.

Oh, yeah, yeah, yeah, yeah, yeah.

I mean, a little fuzzy because it's been years, but I remember him watching his mom die.

Yeah.

And he, he gets, there's, there's an argument that, that the figure on the horse rapes the woman.

Yeah.

In the desert.

And that's why the movie was not included in a famous museum expose in New York, like showing, Showing his films, because that the act that occurred on film was something that actually occurred at the time in real life as a means of demonstrating.

Now I'm reading that, and it's representative of his childhood.

Like, he's recreating that as a way to.

All right, this traumatic event happens.

And it needed to happen for him to start his spiritual journey on that, that, that, that this boy has to undergo some sort of trauma with which to then have.

Have, have this journey.

And it's interesting that he uses his kids in this movie to play the parents.

Well, because dad and himself.

Right.

Two kids right now.

He is, I, I would hope raising them in a, in a loving and artistic Lee Rich environment.

Now, this is me presupposing, but mark my word, he is challenging the hell out of them to become great artists.

He is putting them through the ringer to be expert mimes, to be exact.

That there, that there is an immersion of arts.

But, but there is an intensity to, to that.

Then you can see that in like, the other films that, that they appear in as well.

Like, for them to become these mimes and to be a great artist.

Yes.

You need to have trauma, but the training that you must undergo both spiritually, humanly, to be able to do that upon his influence.

So, yeah, that.

That to me is a way that you can still be without trauma in your life.

I mean, some things you can't predict with.

But there is that.

I mean, you saw whiplash as well.

The degree with which the teacher teaches the draw.

The kid.

Yeah, okay.

The one with J.K. simmons and Miles Teller.

Great man.

Yeah, right.

Where.

Now that's to an extreme.

Creating, you know, like an expert drummer.

Can you still do that with love?

That's my hope, you know, But.

But I. I spoke a lot of like, the yin and the yang and the kind of the op, you know, like the contradictions.

I do think there's an element of joy and pain that creates the great artist.

That.

That those that have had a, you know, life free of that.

I don't necessarily think they find their way into the arts.

I don't know.

Or like even.

Yeah, no, I was just thinking.

I don't know why he got game.

Came into my mind.

Another father with a very contentious relationship with his son, unable to express love except in the only way he knows how and is there.

Even with his father, there seems to have been an element of love.

Right.

Or that at least Jorawski, towards the end, is showing, like, uncommunicated love.

That was part of that trauma that helped him become who he is.

And it's.

It's interesting because, you know, to take it back to poetic cinema, poetry depicted in film.

It seems that in this movie, he calls it a revolutionary art form.

Right there, like that final sequence where Jodorowsky is looking back at his father, played by his elder son or an older son and himself played by the younger son of the two sons that are there.

It's almost like.

It's almost like he's acknowledging that his journey into the world of poetry is like this constant unfolding, this process that constantly unfolds and that meta cinematic moments suggest that cinema itself is a kind of ongoing poetic journey.

Right.

And that's.

That's how I feel He.

He treats it.

He.

I think that this.

This film in particular, because I haven't seen Lance de La and I don't know what ground he covers there.

But this film in particular is a testament to his belief that cinema itself is a poetic medium.

Right.

It's fluid, it's expressive.

It's bound by his cinema, not cinema.

But his cinema is not bound by any traditional constraints.

And it's a film about art.

As a transformative living force.

Right.

I think maybe that's the way to call.

A meditation on the ways in which poetry shapes our perception of the world and of ourselves.

Right.

Because he's showing this stylized world, but he's also showing us a stylized version of himself through his son.

Does that resonate with you at all?

Yeah, No.

A stylized.

We.

We had a debate of whether or not it actually went down like that.

Like, was.

Did he have that conversation even with his dad?

And it's.

It's almost not even important.

Like, he's.

Because is.

Is he achieving it by.

By it happening with his son?

Now?

That's the closure.

That's the.

The glue.

But it's amazing that he's doing it on his own terms.

It's in a film, a poetry film where like.

Like.

Yeah, like, that's it.

Like he's getting.

He's getting that through.

That conversation is happening in a layered poetry film.

Whether or not they actually had that.

And that's his way of expressing it.

Like the way it went down.

You know, maybe with him and his dad, they might have exchanged, you know, a hug or.

Or they had maybe a moment, but like this, you know, there's a full, I believe, kiss on the mouth.

You know, he shaves off his head.

And transforms him again, transforms the last image that he had of his father.

He specifically says, we never talked again.

But now here I'm going to transform that conversation into something that's much more meaningful to me, that brings me closure.

And I also think that by making it about himself, he is at least positing the idea that the artist is inseparable from their creation.

Right.

That poetry literally becomes the artist.

He's putting himself through his son in this movie.

And I'm not just basing it on that one.

There's another scene where there's.

Oh, God, I forgot who it was.

Right.

But there is.

There is this poet.

I don't remember if it was his friend or somebody else who literally had.

His body becomes the canvas for his poetry.

And the words are projected on his body.

Yeah.

That whole team where Connie's in that artist commune.

Yeah.

With.

There's the dance While dancing is shown.

You know, Mime, visual arts, the woman that's in.

In Point.

The entire, entire movie.

Yeah.

His.

His body is the canvas for the words.

The.

The words are projected on his skin.

So he is literally his poetry.

Right.

Him being in this movie is literally his poetry.

The.

The reason that that jumps to my mind is it's not just an Isolated event.

And I'm sure that if I think about it, I'm going to find more examples, you know, find more examples of that.

Yeah, Yeah, it's endless.

I'm just thinking of endless.

Endless poetry.

I mean.

Yeah.

Finding the beauty in.

In all things.

If.

Let's talk about the cafe actually a bit.

That's kind of eerie.

You know, where it had, you know, you had mentioned, you know, well, like Parisian.

It was in Chile.

That was in Chile.

We never get to Paris.

But a lot of references.

Yeah.

So the waiters kind of serving bottles upside down.

From what I've read, he.

He never.

I don't believe was much of a drinker.

He talks about the friend then that became intoxicated and was losing kind of his artistic spirit a little bit.

But yeah, the depiction of kind of cafes like that, there's.

There's two kind of bar atmospheres that are presented.

There's the cafe that seems to represent, I don't know, like academic academia, poetry.

It's a little uptight, a little like it's a little bit darkened that.

And then he goes to that other.

Where he's harassed that other cafe.

Oh, I have.

I have thoughts on that.

I have thoughts on.

Right now.

I want you to continue to continue your thread because my thoughts are going to take us a little bit apart from that, but please.

Yeah, yeah, talk about that because we could talk masculinity and all that sort of stuff too.

But that, that cafe, comparing it to other cafes that I have, it's interesting.

There's, you know, you kind of think like you associate the first perception of poetry.

Cafes for me was kind of like, yeah, smoky bars, you know, people snapping around.

People really, you know, pack.

Pack tightly of which I know, you know, to like New York and Poets Cafe was my first foray into poetry in New York.

And Alphabet City, they call it the Mecca of performance poetry.

So, like, this is a place where, you know, bricks on the walls where I first saw, you know, all the greats.

You know, Bob Holman actually started with a guy named Miguel Al Green, where, you know, people are literally on top of each other and you're hearing, you know, kind of kind of poem.

It became highly.

They're kind of political there.

In any event, that cafe.

Bob Holman ended up leaving that and then founding the Bowery Poetry Club.

And the Bowery Poetry Club ends up looking a little bit more like this cafe.

And it still was inviting, but it becomes this like, M.C.

Escher painting.

A black and white interior, fine silverware.

Like on or glasses on the table and people are going to hear, you know, this poetry in, in that type of cafe.

And it's cool that both of those exist as environments, I believe.

Yeah.

Because for me it represented the, a juxtaposition of dissonance and harmony, showing the inner world of a poet and.

What's the word?

Coming to terms with the outside forces that we, that we have to allow in when we want to share our art.

So you have like these, these scenes where he's reading poetry in a very chaotic, loud cafe.

And.

But then you have that juxtaposed with the scenes where he's reading silently in his notebooks, where he is in that little oasis haven, Bohemian oasis haven that he found when he left home.

I, I don't know, it's.

To me it's, it's this, it's, it's what you have to deal with.

Like you, like your, your tranquility of your inner world versus again the outside forces that you let in.

But that other cafe where his lover, Stella, lover, Stella took him,.

He didn't.

Want to go in there and she took him there and he was harassed and almost, and almost injured, killed maybe, if it had gone far enough.

And it is Stella who saves him.

And that is when he violently rejects her afterwards and says we are done.

And I know that there's a reading where it could be like, was he emasculated?

And that's that rejection of the lover.

But I don't see it that way.

Right.

I don't see context clues based on who his character was terms of in the movie.

In terms of him being sure of his masculinity, his dad's hyper masculinity, fear of homosexual relations, him being accepted.

His first person to accept him as an artist is his homosexual, almost incestful relationship with his cousin.

One sided maybe, but it's still there, the subtext is still there.

I saw that more as Stella is his muse at that point.

And I think that it is again a symbolic representation of how your muse can lead you down dangerous places.

Right.

And when you go there and you're confronted by the danger that your inspiration or your art brings into your life, you could reject that muse and find other muses.

Right.

Like that's kind of what I saw.

Like this rejection of the muse that led you down a path that you may not come back from.

Right.

Yeah.

No, it's an interesting reading of it.

What, what is that dangerous path it's encountering?

What though?

It's, it's, I mean, because they.

They are harassing him.

They're two guys, right?

Three guys that multiple.

Yeah, it's.

It's like a group of guys.

I mean, there's two.

Three main harassers, but the.

There's.

They have like three buddies backing them up too, like.

Yeah, because I think.

I guess it's also showing, like, previous to that, the.

The depiction of homosexuality is that artist.

And this is also showing.

Oh, there are also, you know, a gay population of I guess you would call, you know, more aggressive.

Just, you know, citizens out there or drunk.

Well, even.

Even if they are homosexuals, they are still hyper masculine in the toxic masculinity of his father.

Right.

It's still mirrored there.

They're acting the way his father.

That there are they.

Because they're not repressed.

They're.

They're just.

Yeah.

I mean, they're.

They're living as that.

And then.

Yeah.

And he.

He also.

I don't know.

How does that resolve itself?

He doesn't fight back to.

She fights.

She ends up getting him out of there as well.

Which is an interesting way it resolves.

Because, I mean, I. I look to that early scene you talked about too, when he's his cousin, you know, kind of comes out to him and you know, how he.

How he deals with that at a crucial moment in that kid's life.

And that's where I had a little bit of mixed feelings about too, where he dealt with him with such gentleness in that process.

He rejected him with love.

I thought.

I. I thought that scene was a bit problematic, not a critique.

It's just.

I thought it was problematic in the sense that it dealt with some incest and, you know, like the scene.

And I'm going to juxtapose it with how his cousin ended up.

We need to talk about that too.

Right.

Because we don't see him until one final scene towards the end of the movie.

Again, this person who introduced him to his oasis, to his new friends, to the place where he was safe to be an artist.

He tells him he's in love with him.

And he says, I don't reciprocate the feelings.

He's like, can I kiss you?

And he's like, that's the least I owe you.

You.

He kisses him and he's like, no, I felt nothing.

But then after the cousin leaves, because he's like, I can't see you again, he goes like, yay, I'm not gay.

So it's not even like an acknowledgment of his feelings or all that.

He's like, yeah, the way I am.

So glad I'm not gay.

I'm just an artist.

So I. I think that there's something to break down there.

Right, right.

Yeah.

Like.

Like, yeah, he was using that as his barometer, you know?

Yeah, I can be a poet.

I'm not a homosexual.

I can be a poet.

Like, that was his legitimate reaction in the movie.

But then when you see the cousin again, and then it's not towards the end, it's more towards the middle.

They find him in front of the university and he hung himself.

And I think that's why.

I think, like, even though there's representation of masculinity and homosexuality, it deals more with repression.

Right.

Like, again, I'm not trying to erase these from the narrative.

I'm not trying to remove them from the discussion.

But to me, what pops out is, it's like he's.

He's homosexual, but he is.

He kills himself because he can't live his true life.

And it mirrors.

I think it's almost like a mirror for Jodorowsky, the character of younger, young man Jodorowsky, to see.

Like, this is what would have happened.

I would have killed myself.

Right.

This person who's from my bloodline, my lineage, couldn't live his reality, and now he is dead.

Right.

And I'm glad that I'm going this other way.

Like I thought.

Even while it was sad, I saw relief coming from that character in that.

Moment, in the moment when he discovers.

The body and he has a moment to think about it.

Oh, that Jodorowsky had relief.

Yeah, Jodorowsky, the character.

I don't know about the, you know, Jodorowsky himself, but the character.

The character of young man Jodorowsky, he sees his cousin.

He is sad, but it's also like, oh, my God, that could have been me.

Yeah, that could have been me.

Right, right.

I mean.

But, yeah, it falls more in line to how he reacted when he first rejected his kiss, too.

I'm not gay.

Which shows the occupation with himself.

Right.

Like, I see that within journey.

So it's still.

It becomes a symbol still, rather than the act.

Like, it is.

Like, yeah, we don't.

We don't know that.

That character's story through and through, what it is.

Yeah, it makes sense.

Like, if it goes.

I'm sorry to interrupt you, but, like, it just.

It makes sense to me if.

If I'm reading it, I don't want to say correctly, but if it.

If it aligns with my Reading of the artist being inseparable from the art.

If you're making a movie about art, then it is about him.

And then that preoccupation makes narrative.

Well, narrative sense is probably a term I can't really use with this movie, even though it doesn't.

It's a nonlinear narrative, but there's a narrative.

But it makes sense to me.

Again, supports that.

Right.

Like a preoccupation with the self is necessary in order to understand yourself, to create art.

Right.

So.

All right, then let's jump to the.

To the most visually.

Shocking.

Shocking.

Yeah.

Scene too, which can be read problematically.

I'm trying to find some sort of, like, lesson from it or.

Or some sort.

Because it.

It's, you know, you can't deny that him, you know, sleeping with his.

His friend's partner is.

Is wrong.

And he's like, giving her a gift in it's red.

In like, like, he thinks that that be.

By doing that he had.

He is effectively stopped her from ending her life.

And then he, like, shows her.

Yeah.

Live, Live, live, live.

I guess it's like a reinforcement of, you know, live and.

And aspects of live.

You know, indulging in these sometimes hedonistic pleasures of.

All right, you know, let's.

Yeah.

Have to have sex.

But he does this while the friend.

Yeah.

Is knocking on the door right outside.

Knocking on the door right outside.

But also, I guess, you know, he's spent his night being incommunicative.

He's being drunk.

Like, does he view that as he's giving.

He's giving her a favor because he was there for her in her time of need, whereas that guy was not.

I don't know.

For our listeners, if he wasn't there, she would have killed herself.

Perhaps.

Yeah.

So for our listeners, we'll give a little context.

Right.

So there is a character, Jodorowsky's best friend.

I forget his name.

And he has his lover.

His.

He has a relationship with a little person.

I forget her name as well.

She calls up Jodorowsky in the middle of the night saying he's going to leave me and I'm going to kill myself.

Because he wants to be with a regular sized person.

And the, The.

The friend is out there preoccupied with ego and drinking himself because it's.

He's misaligned.

Right.

I mean, again, that's my reading, but that's what I'm seeing from the context clues.

Jodorowsky goes over and stops her from killing herself, takes her over to a bridge, pretends he's Going to drop her.

She's like, no, I want to live.

And he's like, see, you want to live.

Here, let me bring you back.

And that's another one of those poetic acts I'm talking about.

Like that I'm sure variation he's done in real life in helping people maybe.

Deal with very similar.

Very symbolic.

Yeah.

And then they go back to their house, and she's like, I want to gift you my sex.

That's.

I'm quoting, I want to gift you my sex.

And then when they start.

They start getting into it.

She's also on her period.

And he's like, yes, life must be experienced.

Right?

Like, and they.

They show, like the.

They show, like, the blood all over her thighs and him getting into it.

And then as they're about, when they start having sex, the friend is outside in the rain, knocking on the door, and he's like, let's just finish.

Right?

Let's just finish.

They finish.

The next day, the friend comes in and says, you betrayed me.

Both of you betrayed me.

I'm done with both of you.

And then he goes and drinks himself to near death.

And then they finally, basically, what's wrong with you?

Live life.

She loves you.

I love you.

We both love you.

Now you have something to write about, basically.

Maybe I'm editorializing that, but it's basically what I got from the scene.

And he's like, oh, you're right.

I love you all.

Embrace.

And it's an interesting scene again, because it could be shocking to see.

Look, I'm sorry.

I think we've all lived life.

I don't want to go into, like, private lives anybody, but I'm sure somebody has seen their partner go through their period.

That's what happens.

It's a bodily function, but depicted on screen is.

It's seen as something shocking.

And I see him trying to embrace it, but he's also doing it in this context.

That.

And I'll be perfectly clear in my morality, I don't sleep with my friends, partners.

I just don't.

That's my morality.

I think that he.

He's challenging moralities, so I'll give him that leeway.

But it's not something that I would personally do, which I also, again, I think he counts on viewers to feel maybe similarly to me.

So it's shocking as well.

Right?

Like, that whole scene is shock, shock, shock into the greater truth of suffer, write, create, inspire, and live love.

That's how I read the scene.

I don't know how you did an acceptance of Her.

Yeah.

As well.

Yeah, that's the.

It's the type of scene.

And there's a lot in a lot of his other movies that I guess a less experienced cine cinema watcher.

That's something that a lot of people can't even watch.

Like, it would be like.

Like they would not watch the movie.

Right.

It's something like, you know, like you watch it and if you're watching it purely.

Literally, you're not gonna continue with the movie.

And there's certainly.

Well, we watched it together and I think we both went like, yeah.

You know, and I love.

I.

There's a part that.

I love that to be able to film, to capture that and you know, like.

Like that's.

It's shocking to watch.

But.

But it's.

And it's happening.

Like that's.

That's also like they're filming it and there's some.

There's things you can't deny that are actually happening.

These are naked people.

One happening to be a little person.

You know, whether or not that's real menstrual blood or what.

Like it very well could be like that's.

That's happening.

Right.

You know, so that adds such a. Whoa.

Level.

Level to it.

I. I like your view of.

Yeah.

Challenging our morality.

But then it kind of.

It rounds itself out where like they.

They all do have kind of.

She.

He then finds her another more suitable partner too.

Or.

Or somebody that.

No.

He had a suitor.

But she ends up with.

She ends up with.

Yeah.

She rejects the suit.

And then they all come together and.

The suitor is also a little person.

He's saying like, look, we.

Other.

Because we have.

Right.

These characters.

But I think it just goes back to the movie and what I again see as Jarowski's view, which could be taken as a bit Machiavellian, which is like morality doesn't matter.

Family expectations don't matter.

Society doesn't matter.

All that matters is creation.

All that matters is truth.

And we need to.

And I don't think he's talking about a universal truth, an all encompassing truth.

I think he's talking about your truth.

Right.

The artistic truth.

And that's.

That's what matters.

And I think he designed that scene again by its placement in the film, by the context of the stuff in the film, because he is shown as being very loving and.

And caring very deeply about his friend.

And then he's like, well, I'm just gonna do this so, you know, you don't have like a.

Like a scene where he's jealous of them.

You see him suffer through his lover sleeping with somebody else who was his father figure.

Like, you see all of these things.

So there's clues there, I think there's context clues there to say, like, oh, he wouldn't do this.

And then he does it and said, like, you know what?

I built you up here, but it doesn't matter.

Go live your life.

Live this unique moment, right?

This moment will never come again, and only you can create this moment.

So go ahead and create it.

That's what I get from.

Right.

So, you know, like, I, I've, I can speak for my.

I've had that happen to me.

I will say if I.

That there was a very close friend that ended up, you know, sleeping with a partner of mine.

And it was somebody that I was so close with, a roommate even.

And I was more upset with how it just ruined our friendship then.

It was as upset as, as that relationship.

I mean, I had known him, I guess, even more well than, than I had known the, the partner at the time.

And that was tough pushing through and, and, you know, like, yeah, I'm coming at it from like, all right, you know, knowing the machinations between why, you know, he did it, why she did it, and, But I just remember that, that loss of the friendship, which was, which was the toughest, and I, I, I tried to repair it and I got to a place of, you know, forgiveness with him.

I never came at it with anger toward him.

I, he, like, he had even confronted me, saying, like, I can understand you wanting to punch me in the face right now.

And like, and like, I, I couldn't, you know, like, I was like, I know that doesn't do anything.

And, you know, like, it took, it took time.

But what I kept in my head, what I retained was, all right, like, I couldn't trust him anymore as, as a person through and through because of how it was hidden from me at the time.

So there was something gravely lost, you know, from, from the friendship.

We can still connect on a certain, certain level, but there was that aspect and, you know, totally wish both of them the best, that that gentleman is now married with the family and that sort of thing.

And, you know, I'd end up, I wrote a couple poems about it that were, that were helpful.

You created, you generally, that's it.

And I end up, you know, coming to some peace with that.

I, I guess it doesn't take into account at all, you know, what internally that that guy might, might have been going through and, and how that Relationship resolves itself, perhaps in another one of his films.

Yeah, I.

You're more evolved than me.

I don't think I'd react well to it.

I think I would have punched him in the face and then been like, did nothing.

At least I live that moment.

But it's just.

It's a difficult thing.

I just, like.

I talked it out of, like.

I know.

You know, like, that's the.

That's.

That's even the cliche of, like, all right, you know, that somebody does it, you get permission to do it, you know, like.

But no, no, I mean, I don't.

I mean, look, I. I don't like violence.

I love watching it on screen and doing martial arts and stuff, but I don't like actual violence.

And the truth of the matter is, it's.

I think the pain comes from a situation like that, that it's like, oh, that momentary pleasure meant more to you than your relationship with me.

And it's.

And you could still have that momentary pleasure, but have a conversation with me before saying, like, hey, this is not working out from the partner.

Hey, I'm really interested in your relationship person and this person, and it's stronger than I can from your friend.

And it's like, hey, look, I'm just being upfront about it.

And then you can.

I mean, it's shocking.

It's not an easy conversation to have, but at least to go back to Jodorowsky, at least it's honest.

Right.

And I. I see that as being depicted.

But anyway, I know we have a.

We have a.

About seven minutes ago, so another eight minutes.

So.

Yeah, something like that.

So I.

Let's.

Any final thoughts on the movie before we read the poems that inspire.

I mentioned at the top?

I mean, I. I want to see the next ones.

You know, if you look at a lot of his other films, this one tends to be a little bit more linear than a lot of his other ones, where you can follow a plot all the way through.

You know, the other ones, you have to even dig through even more symbol symbolism and, you know, imagery and symbolism.

I'd like to also mention the theatrical influence you talked about a little about the top, but, you know, him having come from the theater background, a really cool touch was, like, the ninjas that are like.

Yeah.

Pieces throughout the film, throughout different areas.

And throughout the different film, where sometimes you notice them, sometimes it takes you even a second.

You know, like the handmade set pieces, too, that, like.

All right, there's people either from, like, the community that are making These actual like wall things.

And then the parade, you know, at the.

At the end too.

Which visually.

Visually stunning.

Getting all those people where there's.

Yeah.

Angel devil imagery and.

And skull and Day of the Dead type stuff.

Yeah, so much.

But let's.

Let's hear from a quick couple poems.

Real quick.

Inspired by that.

Unless you have a couple things.

I'll start.

So the.

This inspired.

I called it endless Poetry because I'm incredibly original.

But yes, this is my poll.

A dream I once had with stars for eyes Plants the sky on the earth fire blooms and is knitted into sweaters for the cold breath of her size she cries verses into rivers where truth drowns among the remains of trips I took from my unborn children with withered skeletal hands drawing magic from textbooks filled with the smell of fresh baked ideas A plan is hatched and slithers back inside castles in the clouds of cotton candy and sulfur and the rain drips and trips and knocks your eye out of its joint Checking account Harlequin quilt patchwork mischief fluid interpretation of electric pomegranate seeds the end to end Endless poetry fills my ears with mascarpone promises delivered in earnest jest and the butterflies still blame the love bugs for their shame.

Right.

With some highlights from some of the other movies we've watched.

Too Little Pomegranates as well.

I mean it speaks to that film too, you know, second time realism.

The realism of it is something that heavily influenced that poem.

But Scott, what about you?

What do you guys.

We have four minutes.

So I had written two, but I'll read the second.

The.

The Moore's Poetica kind of thinking of the idea of all right, what would end.

What would the end of poetry actually.

Actually look like?

Non and common sense get lobotomized online Poetry is simplified to I mass metaphor closures as similes expire Unlike addicts who like to spit like fire routinely peppering their like comparisons Sort of like sous chef sprinkling season on tripe as personification gets so objectified it's embarrassing Onomatopoeia crashes and craps out forgetting to wipe even alliteration gets pneumonia tries recruiting fruit flies for hire instead Places gnats on nights that will disown you because their silent psalms don't believe the liar AI lipo sucks up all human emotion Speeches steeped in hate excrete an anti love potion Writer's block ruins the ocean from rising heat Imaginations lose independence as too many IOUs make assonance obsolete Hyperbole chokes on a horse named Jazz oxymorons are canceled by a small crowd unjustly justifying its extinct life.

The deafening silence of spoken word gets too loud as unfair stereotypes turn off all the mics.

Freedom of expression is locked up and trapped.

Idioms add insult to injury and break a leg.

Grants dry up and publishing houses collapse.

Hubris takes all classic poems down a peg.

The end of poetry stripped of the try dies form and structure buckle from extra syllables and missing lines.

Odes are criticized and dismissed in despair.

Rhyme travelers stuck in silver toilets confine yesterday's bright ideas to exhaust in nightmare.

Originality autocorrects into a predictable text Unoriginality repeats itself into a predictable text Repetition checks out from always knowing what's next.

Red beards and bluebeards start to pirate Poeticas indifferent toward planks they go overboard on puns Gobbledy dee, gook galore.

All is inaccessible bunk hell, it's incomprehensible, indefensible as written verse the prose are Kant even essayists dismayed.

So with one last breath this elegy fades.

I have to say that one.

I have to say and.

And the whole thing is a acrostic for no more's poeticas without a fight for your rights for writers.

I was gonna say to write or for your rights to write, but that's.

How you were gonna go.

Like, exactly.

That was my first talent show performance.

Fight for your right to party, Beastie Boys.

I lip sang it at my middle school back in the day.

Well, yes.

I need to hear that story.

We have less than a minute to go.

My name is Renzo del Castillo.

Scott Raven.

Great discussion, Renzo.

See you later, guys.

Real Poets is produced and hosted by Renchel Del Castillo and Scott Rabin.

Original music composed by Gabby Weitzenfeld.

Episode art and visuals by the Real Poets team.

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