- Really, what is the big deal about the trenta? It's for iced drinks, right? A 31 oz cup full of iced coffee does not contain 31 oz of coffee, which is 99% water anyway, not pure liquid calories. When you order an iced tea in Texas, by default the glass is like 48 oz (and with so much ice you leave the restaurant with a wicked chill in your bones, and have to sit in your sun-loaded car for five minutes baking back to a normal body temperature). Anyway, I'm pretty sure people who drink a lot of coffee actually tend to be thinner, so why is the media turning this into a "This is why you're fat" situation? Have you ever been to a Starbucks? They're mostly full of good-looking affluent people. Guess what, weight and health in general correlates a lot more with the size of your paycheck than the size of your beverage. (In related news, studies show people who drink alcohol weigh less on average than people who don't.)
- I got my contributor copies of The Monkey & The Wrench: Essays into Contemporary Poetics, which includes my essay on "moves" in poetry. Poetry teachers of the world, take note! Here are a couple of excerpts:
- Lunch was rigatoni with pea/parsley/almond pesto. SOTD is Bulgari Black.
The Throwaway Pun
The Throwaway Pun can be distinguished from a pun proper by intention and context. Similar to the Poetic Allusion as Joke, the Throwaway Pun tries to “have it both ways.” It’s an overtly authored joke that seems to apologize for itself or admit its own limits (outside the context of, say, a limerick, a pun is a cheap kind of humor). Take the following line from “Play it Again, Salmonella” by Jeffrey McDaniel: “I’m a cardcarrying member of a canceled party.” Even the title seems to come equipped with built-in groans. Another: “ACTUALLY SAY LA VIE” from Karl Parker’s “Horn o’ Plenty.” This move is borrowed directly from the school of American comedy that celebrates bad jokes as good jokes as long as they are told with awareness. This is a variety of camp.
Intentional Ambiguity is another product of postmodernist/deconstructionist criticism (i.e., the reader’s interpretation is as valid as the author’s intention; neither has primacy). Take, for example, the phrase “I run a toy glue factory” from “I Had My Headphones On” by Karl Parker. This could be interpreted in at least three ways: 1) I run a factory that makes glue used in toys. 2) I run a factory that makes toy-sized or pretend glue. 3) I run a glue factory that is itself toy-sized or pretend. In the unreal, or nightmare-real, world of the poem, these options seem equally likely. By withholding any disambiguating signs or information, the poet suggests that such “facts” have no consequence, and that poems do not traffic in facts in any case. In a way, Intentional Ambiguity is related to the unreliable narrator of fiction.