Maia’s Back!

After a veritable forever of Maia being sick and gone, she’s finally less-sick and more-back!

We welcomed her with a sign:

photo 1

We also expressed our fondness and love for Maia in form of algebraic graphs:

photo 2

(This one describes the exponential increase in the level of suckiness of Maia’s illness over the time that Maia’s gone.)

photo 3

(This one describes the general upward trend of the department’s mean “Missing Maia” value with a blip in it over time.)

photo 4

(This one has a Z-axis? I don’t frickin’ know.)

photo 5

(This one describes CW’s functionality and productivity in all its varying stages, with the asymptotes representing Maia’s absence from our department. We approach levels of productivity, but never manage to reach it with Maia gone.)

Found Poetry

CWII had been with Maia Ipp for our poetry unit (recently ended), during which we studied Jack Spicer and his whole thing with Federico Garcia Lorca. There were a lot of bewildered questions and exasperated exclaims: “So Spicer just claimed that Lorca wrote everything in After Lorca? Even the ‘translations’ of other people’s poems? Even the poems Spicer himself wrote?” We studied the concept of translation, as well as Spicer’s “transmissions” from Lorca (who is, of course, dead at the time Spicer wrote in his name).

One topic that particularly gripped me was found poetry. Of course I’ve known of them– my fellow senior Giorgia loves them (and I the way she does them, by cutting out the lines in strips and manually rearranging them)– but I’ve never had much interest in the form. Maia’s class, however, and what my fellow CDubs were doing with found poetry, made me think twice.

The first exercise we did was to make found poetry from Spicer’s Vancouver Lectures. I’ve always been a categorical thinker, so the stuff I pulled out of the text belonged in certain categories, so my poem read more like a list than anything else. However, as my classmates began sharing their constructs, I realized how linear the poetry could be. My thoughts and intent had more freedom than I had initially thought; the original text is not a constraint, but a guide.

(As it happens, I like my poem enough to throw it on here– so maybe this entire blogpost had just been an excuse to show it off.)

After Spicer’s Vancouver Lectures

Tonight, Eliot on one hand and Duncan on the other, you know, nice poetry
hang it onto metaphors
emotion machines in perpetual motion

Infinitely small:

One-eighth of the struggle
FIve dollars from Ten dollars
First step, step Two, Third stage
Two or Three years later

I prefer more the unknown
Nonsense:

the furniture in the room
children’s blocks
Oscar Wilde

nonsense you have to avoid
Or you are stuck with
screwed up
being inside you

Some of my best friends are dying in loony bins
Some of m friends are dying in loony bins
Some are dying in loony bins
Some are dying
Some are loony bins

On found poetry, Poets.org says: “Many poets have also chosen to incorporate snippets of found texts into larger poems, most significantly Ezra Pound. His Cantos includes letters written by presidents and popes, as well as an array of official documents from governments and banks. The Waste Land, by T. S. Eliot, uses many different texts, including Wagnerian opera, Shakespearian theater, and Greek mythology. Other poets who combined found elements with their poetry are William Carlos Williams, Charles Olson, and Louis Zukofsky.” I had never thought that including lines from other texts could count as found (though now that I think about it, duh). That’s one of my favorite kinds of allusions– referencing not only the content, but also the style and form of another piece of writing.

The Found Poetry Review came up in my brief research for this post. It looks sleek and awesome, and I’m definitely checking it out. (Let’s end on a random plug.)

Operative Word: Creative

There always has been lots of talk about how Creative Writing and our operations are vaguely cultish. This is completely untrue, if we understand the purpose of a cult to be veneration for a perceived idol. This is completely true if we base the label on actions alone— small, inclusive, apparently secluded. So for the sake of transparency, here’s a glimpse at one of my favorite aspects of CW:

Creative Writing, when the emphasis is on Creative.

Not in a bipartisan way where it means anti-writing (we try our hardest not to be “us and them,” here). Needless to say, I love writing— love it so much it seems completely inadequate to state it outright like that. I can write a full showing-not-telling discourse on my love for writing on a later date (maybe I’ll use it as a college essay, ooh), but for now, take my claim in good faith. Writing is so entrenched in me that I don’t even need to specifically mention it— it’s become part and parcel of me as a person.

(Consider cooking as an analogy. You get a new wooden spoon, a spatula, a panini press, whatever untensiland it’s the coolest thing ever. You explore all avenues of its use— the slight indents, the sleek metal that provide numerous functions, whatever you can think up. You do everything— stir fry, whisk, spread butter— with it. But once you get used to holding it in your hand, it becomes a tool, something to help you get to an end. What’s fresh and new become the ingredients, the recipes. It doesn’t mean you lose your love for the utensil, and it becomes so essential to your process that it’s completely unperceivable, the thought that you’d have to fry eggs without your spatula.)

So here in CW, Creative is as much of our content as the writing. My favorite example is that one time in freshman year when we went ice skating. For creativity. And it sounds like a nudge-nudge-wink joke (it most definitely 50% is), but we’re serious about it. To write takes knowledge in both its form and content, obviously, and we can’t write about or with knowledge we don’t have, obviously. So part of CW is supplying us with a large bank of knowledge we can draw from.

And here’s another thing that I absolutely love— the fact that we’re so judicial about what sticks and what doesn’t. We know that ice skating isn’t for everybody as much as we know that sonnets and rhyme schemes are not for everybody. We get that some people can do parkour or capoeira, and respect them as much as we respect us folks that lie on a sunny patch of carpet every chance we get (that is most definitely not just me). If our unit is on Beat poetry, no one will take it personally if that style doesn’t particularly resonate with you (appreciating the topic in context and seeing its value in its time is another story— one that I personally think should most definitely be a requirement). We get and respect that other people have opinions. Whoa.

This leaves us with a lot of freedom to pursue anything we wish. In case it hasn’t been hammer-over-the-head obvious yet, I’ve discovered a heavy fascination with the psychosocial effects of war. For other people, I know there are authors, styles they are enamoured with, or other topics of discussion (social welfare, the prison system) they explore and explore and always come up with something fresh for. It seems a bit counterintuitive, but honestly, in my experience, I think the more you write about a topic and the more you explore/research it, the more you have to write about. It’s all the different perspectives, see— the 7 billion in the entire world, and I’m not even counting the artsy interpretations of the POV of a molecule or something (but seriously, science poems are the best). And should you ever find yourself done with a topic… teach it, I guess. Impart that knowledge onto someone else who wants to know everything about the world (the entire CW department comes to mind).

I don’t know; I don’t really have a thesis. I just love to be around people who love to learn, I guess. That candle-lighting analogy might work here— that lighting another candle is not a detriment to your own, that the more candles there are, the more light there is.

Rehearsal Week!

Yes, that exclamation point in the title is totally warranted, even if the permalink doesn’t think so.

Voyager is off to a great start— we’ve got our whole cast and crew here: Heather, Tony, Rachel, Carol, Isaiah, Maia… Plus the brilliant tech crew we can’t do without (as Beyoncé once said, “Who run the world? [Tech]!”). For the first time since my four-year-memory (the average lifespan of a high schooler), we’ve got all our Skits-I-Mean-Interludes finalized and roughly staged in the first day of theater rehearsals. We’re also aiming high this year, in that every CDub will have their pieces memorized for the show. I expect to just cruise (badum–CHING!) along this week, until Friday, our big show.

In the mean time, here are some pictures to keep y’all entertained:

Melodica-Alien and Jules Justus-Alien Hula/Macarena (?) girls Audience

Remember the de Young

For a week in September, Maia Ipp came into Creative Writing and taught a “Craft and Critique” class in order to prepare us (well, us being CDubs sans seniors, ’cause our three years of sweaty toil has earned us privileges, dammit) for a new department requirement— the literary critique (see Smolly’s Daily Report for reference).

We began by defining the word “critique” and its connotations— for someone to be critical is usually negative, though to look at something with a critical eye is pragmatic and sort of good. Using these definitions as a springboard, we then worked to redefine “critique” and came up with a new operational definition: analysis of the text and its effects with the intention to either better it or to simply point out its success.

(Yes, those are my words, and yes, they are carefully diplomatic, but that’s the jist of it, I think. Y’know, people always say to not shoot the messenger, but what if the messenger screws up?)

(No I change my mind. Please don’t shoot this messenger.)

We also discussed ekphrasis, which is sort of the evolved version of part two of the lit critiques, which are the creative responses. An ekphrastic piece of art is inspired by another piece of art in another medium— the example we looked at was a poem inspired by a painting. The poem stood on its own well enough, but with the painting there was a basis to work from, and there was suddenly a synesthetic duality to its evoked meaning.

On Friday, September 20th, Maia’s  class ended on a high note. We visited the de Young museum and the Diebenkorn exhibit (which I will admit I did not see, sadly— it was just so… populated there) to create our own ekphrastic pieces of writing. And it’s kind of hilariously awesome, because Maia was so inspired by all the poems we turned in, that she took lines from all of them and created a group found poem, so it’s something like meta-ekphrasis.

(Though if we really did the math, it’s 1.5 ekphrasis, because while not everything we wrote was poetry— mine certainly wasn’t— words to words still doesn’t count as an entire ekphrasis, I don’t think. Hence the point-five.)

On top of that, Frances (’14) and Lizzie’s (’14) poems were chosen for special mention. Here they are below:

After the de Young: a group found poem

The poem that follows is composed of lines taken from the Fold-Up responses. Every Creative Writer is represented, and lines have been only minimally changed where necessary.

Tell me about the life you’ve built
the way it seems to fall apart
in the drifting winds that run through empty houses.
I, too, remained nameless that year.

A stretched film over the skywater above us.
It fractures though, by gravity or worse.
How hard it is to keep it together:
the water that was made in darkness.

The sun is smooth and patient, a pulse of light wavering between leaves and branches.
The ocean offers a flat relief.

I would die in this place,
my body slouched on a blue plastic chair, the door
open for the world to see.

Skin the taut surface of water—
A round, flat eye.
It is dangerous without being alive.

Examine for bloodlessness the bold predawn birth.
I had golden feathers,
but now everything is moonlight
undersea.
Stung, bitter, by our blackened palms.

I found you beached,
your burnt snow gills gleaming.
To do something with these arms—
I nod quietly, stare into wind and snow, letting its sting replace the one I feel in my chest.
I am not to be approached.

The most refined woman is nothing but texture.
You may be full to the core with honey and old water.
So soon, we’ll both be useless things.

Frances Saux, after Richard Diebenkorn, Untitled, 1955

I, too, remained nameless that year—learned in the clench of summer the constituencies of self, somehow—
One night she’d gone and I took three, four tries at a match, but too selfless to start supper I let them die out—
What was moving that year, what was anything?
I needed medicine and thought a spoon of vinegar, a slice of lemon looked all right.
And I thought I’d go on a walk but of course I didn’t. She came home, I stayed seated, she let the water run in the kitchen sink, I thought about the lengths of water, for lengths, the anonymous water.

Lizzie Kroner, response to The Wild Swan by Alexander Pope

It is wild—it is like painted taxidermy. The swan hangs so majestic but still so pathetic in its demise, tied to a door. With its full, faded head it can only exist as a symbol now. It evokes meaning without having a meaning of its own. In its death, as in all deaths, it has lost life, but its corpse, bright and beautiful and sprawled, wings spread, emanates such vivacity you have to question whether it is really dead or not. Of course it is dead, its webbed feet are tied by a string to the hinge of a green door and its gold is only visible when it is directly under the light. But the stillness of its heartbeat means nothing. The painting doesn’t have a heartbeat either, neither do these words, but they mean something.

Let’s Talk Petrarch

I’ve been reading Petrarch— Scott, my Euro Lit teacher, introduced him to me (well, introduced him to the class, but I took major interest and asked to borrow some books). Prior to this, I’ve known Petrarch only as that one Big Deal Poet Laureate who got the crown from the Pope who wrote love poems to a Lady Laura. Y’know, the standard famous poet stuff.

Now, I know he had never met Laura, and suffered from a crippling depression that I’m surprisingly familiar with.

It’s just weird, y’know, to consider that this figure of practically-myth is actually such a familiar character. He glorified Laura to frightening heights and longed to reach that height, but obviously never could. The funny part though? Is that he knew exactly what he was doing. He was making Laura unobtainable, and hated himself all the more for not being able to obtain her love. This self-crippling cycle seems a very modern thing— we rarely think of figures from Back In The Days suffering from anxiety and depression.

Self-doubt is a very familiar feeling for me, and… Well, I don’t know if it’s comforting to know that Petrarch also had it, but it is somewhat easier to forgive myself when I remember that. It’s such a funny thing, see— just being told that your anxiety is all in your head doesn’t really help, because if it’s all in my head, it’s all on me, and I’m making a big deal out of something that doesn’t matter at all, isn’t that embarrassing? It just makes me more anxious, if anything. Reading famous poetry that many people studied and liked and empathized with reminds me that it’s not just me. Other people are people too; I am not living in a world of perfect Lauras. I shouldn’t hoist the greatness I perceive in everyone else above myself, because that’s not fair to me or to them.

This has been a little life advice, to myself more than others. Just ease up, man. Make like Petrarch and write through the sadness. Frances should make that into a motivational poster.

A Self-Contained Explosion

I love entertaining the thought of stars aligning– I always envision it to be like Hercules, where these giant planets just kinda sidle up against each other with the arrogance of frat boys and collectively build up this awesome mega sonic beam of power that pews down to Earth.

…And then something blows up, but in this Hollywood day and age? That’s practically a prerogative, even for non-film-tastic grand celestial phenomena. All ye beware, here there be C4.

So, there’s that whole thing about planets in orbit and electrons in orbit, which means it only stands to reason (actually, it really doesn’t, but whatever) that the alignment of stars is graphically comparable to the alignment of thoughts.

I googled “pretty picture of neurons,” which is something I’ll have to live with forever

(Tangent Anecdote: Photoshop is one of the things many middle school master Escapists learn to do in their spare time, and as a devout Anti-Realist of that time, I dedicated hours of my life learning to simulate those sparkles (which are, of course, just dots with the glow effect) on a hipster non-Photoshop program. It involved too many layers and manual dotting to count, and I soon gave in and used my father’s ancient Photoshop 5, which was a very decent step up. I now have family pictures buried in USBs all sparkle-tastic and color-balanced.)

In the scatterplot of life, how awesome would it be to be able to derive the the perfect linear function? Instead of completely random events and happenstances, I can say my life is f(x) = 12x + 11. Like, not even quadratic– we’re talking seventh grade-vanilla math. How awesome would it be for my writing to just be input-output simple and correct? Perfect in content and easy in execution. It’s so dreamy.

I’m dreaming and dreaming, and all of a sudden I hear Heather’s voice in my head, all excited-like:

But it’s not perfect or easy. Life’s not perfect, writing’s not easy, and that’s what makes it all so worth going through.

And yeah, snaps to that. I mean, why else would everyone get bored in math class? It’s all so predictable after a while, like eating exquisite European banquets every day and crying with feelings over fried rice (my entire family has a Chinese food complex, I don’t even want to talk about it, oh my god). It’s kind of the entire point of writing, y’know?

(The non-perfection, not Chinese food.)

(Though it’s debatable.)

If I had to identify my life philosophy, I’d probably say Absurdist (yes that’s a perfectly legitimate philosophy shush), which, to rehash sort of all my previous posts, is the notion that Life seems to mean so much when it really means so little, and that’s the joke. Absurdism easily turns to a kind of bitter nihilism once you lose the humor, so you can sprinkle in a bit of existentialism there too, that nothing matters unless you make it matter. It’s why I write, to assign meaning to things so I can better maintain my brain-filing system (just call me Radar O’Reilly, bugle under B, clipboard under K).

So this filing, most of the time done with intention, but sometimes, things just line up, y’know? Jules (’14) tells me that someone told him that things come in waves– the happy wave, the sad wave, the people-getting-the-wrong-orders-at-random-cafés wave– and maybe, maybe. It’s a fun thought to entertain, but a bit too unsubstantial for me (which is strange, because I’m certainly not above superstition and strange beliefs, like whistling at night or untying friendship bracelets). Though there was the time with the Connecticut school shooting happening right after CinéClub showed Elephant, and the intruder alert practice at SOTA soon after. Maybe I don’t consider three “a wave,” just connections. Perhaps if five or six folks in my life all gave birth at the same time or something I’ll consider it a wave (of babies, so many babies), but it’s too big a unit of measure for me to consider viable.

Well anyways, things happen, big surprise there, and when things happen, other things happen, and though correlation is not causation, correlation is correlation. When things happen that I feel connect, the stars align. Stars move fast in my world, all this hyperactive spinning, and sometimes, I get three in a row, or an apple, a pile of gold, and the Taj Mahal. It’s all very motion sickness-inducing, but also awesome when I find the connections and draw a straight line.

I like bookend endings, so I often scroll up to reread what I’ve written and find the one thing to nicely tie things up (though Maia Ipp has told me to refrain from that urge, because it’s not necessary). Now, though, I can’t think of anything to tie back into Hollywood explosions, except maybe that they’re unnecessary, but is kind of necessary (c’mon, Pacific Rim was awesome)? Just like life. Alright there we go, ending tied up, life is unnecessary, but also kind of necessary. You know what I mean.

Day [5]

I do the “I can’t believe it’s already/only been the first week of school!” thing only ’cause it’s true. Both ways.

It’s already been the first week of school: five whole days passed, memories of it were not a blur and can be willed easily into definition, my relative time has changed.

It’s only been the first week of school: what?? Have I not already been here for five whole days? Whaddaya mean only five days? How many more to go??

Warning! Warning! It’s not a binary! They are not opposites, do not have to exist with or without each other, my feelings of relief and longing are in no way contradictory. Trust me. Please.

I don’t know– it’s been so strange. It’s not like I stopped thinking over the summer or anything, but now I’m back I have to make the conscious effort to flip my brain back on. Maybe it’s more like switching tabs on your choice of internet browser– I’ve got to function through a different scope.

Allow me to pull another cliché and share a word of wisdom. Not my word of wisdom, which either makes it better or worse. It’s the words of my Psych and Human Geo teacher, the ever-wise Ms. Coghlan:

Coghlan

Yes it’s on my wall.

And, for such a simple thought, it’s surprisingly esoteric. Procrastination has always been the norm for me, and there’s always a reason why– I’m in the middle of a page in the middle of a book, I’m knitting a scarf for my father’s birthday, I was just about to cook pasta. It’s never really occurred to me to actually consider my actions in a more objective perspective, where there’s this set amount of time in which I can get things done, I am in that block of time, why not do it?

Why do it? is a loaded question. Why not do it? is a flippant one. I like my attitude flippant, the operational definition of “flippant” being completely positive and not rude in any way.

And do the things you put off because it actually doesn’t make sense not to.

The first week has passed and is settling slowly around me, and I must sleep it off. More next time on senior-ism. Man that’ll be a long post.

M*A*S*H-ian Philosophy

This show has taken over my life:

I’m not post-Season 3 yet; give me a week or two

M*A*S*H is a TV show spin-off of a movie with the same name, about a group of army doctors during the Korean War. The picture above is a perfect depiction of this SitCom-y show, filled mostly with situational (thus dark) humor and spiffy one-liners. Example: in the episode For the Want of a Boot, main character Captain Hawkeye Pierce trades favor for favor for favor, creating looping chains of exchanges, all for the want of a boot without a hole in the sole; the epic mash-up of realistic bad situations and even more realistic relatively-good-humored handling of said bad situations.

Now, this isn’t going to be a long post, ’cause I’ve got to get back to watching M*A*S*H, but I’ve taken to profiling myself through the things I like, such as books, movies, or– in this truly inspirational case– TV shows.

So, dark humor. It crosses lines of social niceties and make you feel like a rebel for getting the joke about necrophilia. Bryan Fuller’s Pushing Daisies is next on my To Watch list (after watching Hannibal and needing emotional shelter). Now, anyone who’s discussed philosophy with me probably thinks of me as an optimist, and I do quantify myself as an optimist (with empirical data in metrics and everything). So why would I be such a fan of dark humor?

(That was not a rhetorical question, but the rhetoric device hypophora, in which the speaker poses a question and answers it. AP Composition, whaddup.)

Probably because dark humor is inherently optimistic. George Carlin said that under every cynic is a disappointed idealist, and the optimistic dark humor-oxymoron seems like the inverse of that. Humor inspires joy, that’s fact, and cracking jokes in order to cut open red white and blue-blooded teenagers is a coping mechanism. Go ahead, open the letter– they can’t draft you again. They’re old enough to pull triggers but not old enough to drink? Heard Eisenhower’s running for president; man, the things people would do to get out of the army.

Coping is optimistic because coping means survival. Not necessarily survival of the person you once were, but if the main parts are still there we can put it back together, no one will even notice the scars with the right turtleneck. Recently, the suicide note of Iraq veteran Daniel Somers went viral, drawing attention to the heart-breaking statistics of veterans’ suicide– one every 65 minutes (Huffington Post). Healing’s not easy in the first place, but when people aren’t allowed to heal at their own pace or when they heal wrong, that’s when the Bullshit Meter hits the stratosphere. Terrible things happen, and sometimes there are people to take responsibility for it (or should, but let’s not even get into that right now), sometimes there aren’t, and people get hurt. Given the love and support they need, people heal. We’re not allowed to call other people’s scars ugly, we are notnotnot allowed– I say this with the utmost solemnity and simple comprehension of a child, where I cross my heart and not my fingers behind my back.

I said this post wasn’t going to be long, clearly that was a lie. Self-reflection can go a long way, y’know. Literally. (Badum tish!)

Post-Season 3 M*A*S*H– I’ve been warned– will be heartbreak everywhere and breakdowns and hurt. Good. There is a quote out there somewhere about art portraying history better than any official document could; All Quiet on the Western Front taught me more about World War One than my history textbook. (This is probably my only tie-back t0 CW-related matters.) It’ll hurt, but hopefully, innate optimism will get me through.

A Balancing Act on Slackwire, Part I

Which came first, the summer or the lethargy?

The easy connection to make is, school’s out, it’s vacation time, hence the desperate urge to do absolutely nothing. But it can also stand to reason that the urge to do nothing during the summer is some sort of universal truth of humanity, so instead of trudging through a forced-work ethic, we just give everyone three months off.

This is all rhetorical reasoning. I just wanted to think about the summer.

Or not. The do nothing-urge is quite all-encompassing.

…Ten minutes have passed since I typed the last sentence. I’ve gotten myself a glass of orange juice, and am congratulating myself on making the effort.

The way I see it, we (in general) function on a trial-and-error basis. As in, the way we figure out what we want to do when we grow up is through first figuring out what we absolutelyewgrossgetthatawayfromme not want to do. Maybe that’s what mandatory K-12 education is for (or has morphed into, for bizarre, tragic reasons). Throughout the school year, there’s a constant undercurrent of dissatisfaction, perhaps on account that we’re not strictly there by choice, and because school is all about workworkwork (if you’re lucky, not of the tedious sort), the natural rebellion is to not workworkwork. Of course, it takes some rumination to understand that not all work is the same (some work are just more equal than others) and further contemplation and self-reflection etc.etc. to figure out what work one is okay with doing. Just okay, as in, my tolerance level for this is decent enough. Then we take that as a starting point, move forward to find work that perhaps we actually– god forbid– like doing.

Or, you make like me and find ways to appreciate all of the workworkwork, convince yourself all work are created equal and smile ’em all to death. All in a day’s work in Stockholm.

So maybe summer serves a function. Just throwing it out there: it’s either a rehab, or a re-envisioning.

Rehab in the sense that you finally get to breathe without a bunch of grunt work on your shoulders, you quit every facet of school you can, and you come back in the fall with hastily-done work and regret/irritation that you didn’t space out your workload over all your free time (I speak with too much experience); it rehabilitates you for another year at school, where your teacher builds and schedules your learning for you, and by the end of the school year, you do feel accomplished, but in that awkward way when someone compliments you on store-bought pie-filling, rather than a cake which you made from scratch.

Re-envisioning in the sense that you have ruminated and contemplated and reflected, have combed through your school year’s learning with grains of salt relative to your care for them, how they matter to you. In the summer, you have the barest infrastructure to keep you conscious of school as an entity (summer reading, writing), and at this point you know how you best fit in (or out) of the school’s system. Once you are comfortable with that, you start doing work on your own, and moving forward on your own, and school becomes the extra jacket you keep slung over your arm that you don’t mind carrying around, per se, but would most definitely put down, put on, put into some kind of use at any given chance.

I’d like to be re-envisioning, especially seeing as it seems terribly convenient for the process of writing a senior thesis. I was so excited about writing the thesis for the past year, O woe be naive me. Nah, I’m still excited, just excited in that jump-up-and-down-and-cry-and-puke way. It’s only June, and the panic’s already settling in. Relatively unwarranted panic, but when has that ever stopped anything?

I’d like for my summer to be re-envisioning, but for now, I might be better off working the rehab. Just a month– I think I deserved it (Junior Year was exhausting in the best way, which is the worst way, ’cause you like that feeling of accomplished exhaustion). In July, I’ll get back on my feet, hopefully rejuvenated in a September way, and move forth with awesome work ethic.

For now, I think I’ll settle for another glass of orange juice.