Sing to me tenderly
All the songs I once knew
Play harp on my heartstrings
And make them play true

The care that you bring
is gentle and warm
like sweet sunlit honey
after cacophonous storm

You might be reading this because I was wrong, or maybe it was because I’m right. Either way, I guess my warning doesn’t matter. You’re either doomed, with the seconds of your life ticking down until the apocalypse, or I really am just crazy.
You’ll probably think this is one of my rare lucid moments, one of my self reflective days where I question this maddening world I’ve been thrust into. It is understandable that the rest of the world doubts the existence of the horrors I’ve encountered. Had I not seen them, I would think the same.

A loving arm around my waist
Your breath in my hair
Your fingers on my skin

What I wouldn’t give

A (very) short explanation of the SCP foundation

I’ve been recently reading an online forum called the SCP foundation. Most of these articles are written with a clinical detachment about the containment of miscellaneous objects, places, or people that display bizarre behavior. Some of these articles are horror, some humor, some just plain weird. SCP stands for “Secure, Contain, Protect” for the purposes of the foundation, and “Special Containment Procedure” for the purposes of individual objects. Really the only way to understand this website is to read a few entries.

This one, SCP 294 is one of my favorites. It is about a drink machine that can provide every beverage asked of it, and many non drinkable liquids as well, leading to some hilarious results.

Response to “10 Reasons Why This Generation Is Losing The Ability To Be In Love” by Paul Hudson

I usually hate top ten lists with a fiery passion. Often, when I come across them in abundance, one thing leads to another and I end up watching stupid youtube videos for hours. I was already on that downward spiral when I came across this one. It was predictably vague, just like most others I’ve read, and even seemed to backtrack on itself. The points were good, although should be taken with a grain of salt. Now what made this the least bit interesting to me was this particular quote;

“The grass always seems greener on the other side. But who the hell told you to look for greener grass?”

It is true in life that someone always has it better, but who says they have what you really want? Maybe the things that matter are right there in front of you. Or maybe they’re not, maybe you have to work for them I could be totally off. But it’s food for thought.

Proof by David Auburn

“Proof” is about about a woman’s struggle with her brilliant father’s insanity. This woman, Catherine, is bright although emotionally unstable. Her recently deceased father, Robert appears in flashbacks and hallucinations in the play.

There are two other Characters, Claire, the unintentionally cruel sister, and Hal, the geeky love interest.

The first act sets the stage for the revelation of a fantastic proof in the father’s study. Act one draws to a close when Catherine claims to have written the proof and Hal and Claire are skeptical. The rest of the play revolves around their interpersonal relationships and Catherine proving her ownership of the document.

My favorite part was in the first scene where Catherine is hallucinating her father. Robert is defending Catherine’s sanity when he says that “crazy people don’t sit around wondering if they’re nuts.” I thought this line was very amusing, and probably true as well. I’ve often wondered what sanity really meant, and this answers that question well.

Writing response to No Exit by Jean-Paul Sartre

“No Exit” was originally written in French, and has been translated under several titles, such as “Behind Closed Doors,” and “Vicious Circle.” The play reads relatively quickly, and the pacing is good. It builds from a confused mood to a frantically hateful one.

This play takes place in Hell. However, it is not a place of brimstone and fire, it is a well decorated room. At first, all three of the characters are surprised that there are no torture devices. The three main characters are introduced to one another, and the reader sees how different they are at a glance. The reader and the characters then begin to understand why they are in hell, along with the idea that they will be each other’s torturers. This play is the source of the famous line “hell is other people.”

My favorite part must have been the past few lines where the characters really start to torment each other. They are each trying to get something that the other characters are not willing to give. It is almost frantic in the end, when this becomes clear and there is no more hope for any of them.

Writing response to The Crucible

“The Crucible” by Arthur Miller is a play with a brilliant criticism of American policy through the eyes of 17th century witch trials. The Crucible is somewhat unique in it’s veiled criticism of current events. It could be enjoyed simply as a drama or as the criticism of the McCarthy era, and contains several pages of commentary exposition which is vital to the double reading of the play. Arthur Miller published this controversial pay for the first time in 1953. The story begins with many of the town girls of Salem Massachusetts dancing in the woods. One of them falls ill, and suspicions soon turn to witchcraft and the occult. This launches into the witch trials, with many of the townspeople, especially women, being arrested, many hanged. The story follows a man, John Proctor, and his search for self redemption.

My favorite passage was in the middle of the play. It was an expository piece, probably not meant to be read out loud as part of the play. It explains in more depth how societies often condemn the freedom, especially sexual of their subjects as a moral sin. According to Miller, this is a control mechanism seen both in Cold War times and the Salem Witch Trials.


Each tear I haven’t shed
is an itch that can’t be scratched
Or a dam left unfixed far too long

The pressure builds behind dry eyes
until one might prefer them gouged out
to the suffering that must always be silent