Why I Was and Where I Am

California poppy:

Orange.

Dwarf California poppy:

"The hat is customizable," he said, struggling with the velcro patch on the front. "If I need it, I have an ICE one too. I pick based off the business i walk into."

"Customizable is an important hat descriptor," I said. "what can I get you?"

"You wouldn't believe how offended people get these days," he said. "And I'm supposed to do something about it if you're offended? You chose to be offended!"

"We all have hundreds of thousands of decisions everyday," I said. I thickened my accent. "That's what my stepdad always said. But I can make one easier - we have a delicious Ethiopian roast available."

"Like if I told you you have a bull ring," he said, "because bulls have rings in their noses. Is that offensive?"

I laughed. "I've heard that before."

"It's a joke, but people get offended. Maybe you're offended."

I looked at him. I smiled. "You aren't trying to offend me though, right?"

Of course he was. I was being friendly and the friendlier I was, the faster he switched topics. He was saying anything inflammatory he could think of to see if I'd take the bait. After about 20 minutes of my redirecting and deescalating, he settled into a more normal interaction. He took up too much of my time showing me a product I'd feigned mild interest in to get him to stop talking about getting accused of inappropriate behavior at work. When we finally disengaged, he spent 10 minutes trying to catch my eye again. When he failed, he left.

There's this new breed of customer who insists on trying to incite political conversation through their clothing and, when that doesnt work, their snide little comments. If I owned my own business, maybe I would have given the guy the fight he wanted. But I work for a corporation and I love paying my bills so I deescalated.

"Melancholy" by Albert Gyorgy, Geneva, Switzerland

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.