“We can’t afford everyday life anymore, and I’m voting

on that.” (Street interview, Bob Woodward, Fear)
1

You wake up, stare through the smog, spot the bicycles

jamming the high-rise balconies: whatever you choose

to cheer you up. After this, nothing will be over the top.

Bikes will save us during extended power failures once

we figure out how to get them to the ground. But weather

on balconies doesn’t hoist or heist mathematical seasons

or mechanical reasons, so good luck on your way to

the street. Even if it’s under water.
2

You can say anything now: it depends on how floored

we are by your story. E.g.: The probability of a woman

becoming pregnant from a single randomly-timed act

is about 3%. Credibility is in the details you include

in the description of each lonely instance, and this relies

hugely on what we find most or least memorable:

“Nothing mattered. Then it blew over.”
3

Disparities between plot & narrative hang on causality.

If we could train SUVs to swim upstream like semen

and perhaps park themselves away from current affairs,

the transitive drama of everyday life might provoke them

to carry us away from consequences instead of forever

having to cloak everything in grief & mystery because

our best excuses are getting a little rusty.