In desperation,
Sid scooped the
gleanings from
the floor, and
swallowed them
one by one.

As he boxed up his belongings
for the move to Florida,
Michael came across a picture of
himself as a boy in his father's lap,
and suppressed the urge to cry.

David Chalmers's brief for metaphysical dualism (in The Conscious Mind) is sporting (like Berkeley is sporting), and I appreciate that. It does not turn out to be field-transforming, however (Wittgenstein, Putnam, Fodor: field-transforming, for better or for worse). Too much of the work is done by Chalmers's claim that we can conceive of zombies: humans who behave (function) exactly like other persons, but who have no phenomenal experience (who are quale-free). Chalmers takes this counterfactual to be, by itself, an argument for mind-body dualism. For myself, I doubt that one can conceive of a zombie. There are several possible lines of argument here. Today I am thinking of Wittgenstein's claim that the semantics of psychological descriptions (like the semantics of all descriptions) must be public, as language is essentially (necessarily) intersubjective. All phenomenal terms, then ("pain," "taste," "sensation"), have double lives: their nominal referents are qualia, but their conditions of use (W. would say their "grammars") are public. My view is that the mind-body problem is a complex problem, specifically that we need one theory to deal with intentional properties and another to deal with phenomenal properties. Functionalism is the kind of theory that deals with intentional properties, which I take to be some sort of formal, relational, "public" properties. For phenomenal properties we need reductive materialism. That is, phenomenal properties are not multiply realizable. When we say that David Chalmers, Flipper the Dolphin, My Favorite Martian, and Commander Data all like chocolate, we are referring to something that instantiates a particular functional role. It is not required (it does not follow) that they all have the same qualitative experience. If this is right, then the (alleged) conceivability of zombies does not constitute a proof of mind-body dualism, only of the inadequacy of functionalism.

You got to hold on
love is soon
moving in
you know in your soul
that you have committed no sin

Just wait and see
what joy love will bring
it will make your
heart sing

You must believe in fate
it is never too late
soon love will be flowing
like melting ice in the spring

You've got to give it all
there is no time
to be lying on the ground
feeling shot down


You've got to keep on looking
you never know
what will show
don't be so slow
free your mind
and the rest will follow
and your life will turn
into what it is
supposed to be
and you will feel
so good forever
but you must want it
to happen
nobody can ever
do it for you

You must never give up
your hope
and never choose
the rope
as the last way out
because there is love
to be found
just take a look around
and you will finally
find a partner
to share your life


You've got to hold on
it is not easy
but you have to be
very strong
in your lonely heart

Watch the sky above you
and prepare to die
because they are closing in
willing to erase
the whole human race
just for the pleasure of it

Ready or not
they won't stop
we have already let them in

People call them
flying saucers
but that is a big lie
they are deadly weapons in the sky
and there is no place to hide

Have you not heard
the stories about the people
they took away
for medical experiments and pregnancy
and when they came back to earth
they had completely lost their brain
and went totally insane

Watch the sky above you
they are circling into smaller circles
watch the sky closely above you
they will soon dive for their prey
which is you and me

We can move in all our military forces
but still we would look like horses
the crafts have landed everywhere
and we can all feel that clean fear
that the end is near
so say the Generals
and for God's sake give us more guns
rockets bombs artillery
and laser canons just for safety
then maybe we can force them away
so long my friend
Tellus is gone

It is a bright day
and I have just finished
my last pray
what have I done
and what will come
at the end of the road ahead

Sun Sun I wish
I could run
Sun Sun I am your son

It is a dark night
and nothing feels right
where have you gone
I feel like well done
inside this strange room
they say it is my home

Sun Sun I wish
I could run
Sun Sun don't forget your son


It is a clear morning
time has come
and I have to pay
for the things that they say
when I will be lead
into that fear hall of justice
where they serve us all

Sun Sun I wish
I could run
Sun Sun I am there soon

It is a wonderful day
everything feels OK
for once in my life
I am not afraid anymore
I know now
that my soul is at home
Sun Sun here I am

Boy - what do these words mean? Have you looked in your dictionary but still don't understand? Read on to see if this explanation helps, and if not, let me know!

A person who dislikes and distrusts mankind is a misanthrope.

A person who dislikes and distrusts women is a misogynist.

But what's the name for a person who hates all men?

A friend's wife suggested *intelligent*,
but the real word is misandrist.

:D

The English language is an amazing thing, with many fascinating words and phrases ... enjoy learning new things every day!

I read long into the night,
fervently underlining significant
passages in the little red book.

"So," the counselor began. "You think your marriage is over."

She sighed. "He's just not the man I married. He used to be so romantic. Always bringing me flowers. Opening the car door. Giving me the most wonderful massages!"

She shook off the memory.

"Now he spends all his time with his friends, drinking beer, talking football. When he is home, he sits in front of the TV and expects to be waited on hand and foot. It's like I'm some sort of fixture!

"I just don't understand what happened," she finished, burying her head in her hands.

After a brief silence, the counselor asked, "Have you told your husband how you feel?"

"What's the point?" she responded without looking up. "People can't change the way they are."


-Stanley

It is only a simple trial
what do I really care
I have no fear

Guilty not guilty
I am an innocent man
in a controlled land

The jury is set
the answer will come
I have to be strong
in my heart

Here they come
I hope they understand
that I have done no wrong
against anyone

Ha Ha all raise
now it is time to pay
this is your judgement day

Here it comes
you are sentenced to Death
because you have shown no regret
so say we all

Tomorrow at sun rise
you will swing from the old oak tree
up at Gallows point

Guilty not guilty
I am an innocent man
but they turned me down
completely

Tonight there will come some tears
but they will never be seen
because they are inside
guilty I was
at least so they said
but I am not afraid

I know what you are thinking
but not what you are drinking
come on over here
and we can share

I can not move
but I can feel the groove
shy shy that is what I am

I know what you want
but not how to give it
come on baby give me a shot
you can see that I have a lot

I can not speak
but I know how to teach
shy shy that is what I am

I know what you need
but not how to show it
come on baby give me your hand
and I will make you understand

I can not play
but I know the game
shy shy that is what I am

I know that you are lonely
but not how to explain it properly
come on baby open up and smile
and I will give you my best company
even if I am a little bit shy

I know that you need me
but not how to give you my heart
in a way that makes you understand
that I will never let you down
please take the first step
because I am a little bit shy
but I will never make you sad
or cry

Never know when to end a word in o, os, or oes?

Goodness gracious me! I am sure that there must be a secret school for greengrocers and fruit and veg employees ... where they are taught a difficult and secret way to use apostrophes at the end of vegetables. It is a miracle if I ever see a sign outside a greengrocer which *doesn't* have an apostrophe where it isn't needed!

[Feel free to send photos of offending signs to share with us!]

Words ending in O do NOT - I repeat - do NOT need an apostrophe *s* to make it plural!!!

When a singular word ends with a consonant (non-vowels) and o,
it is normal to add es to form a plural:

Singular	Plural
potato tomato volcano mosquito hero cargo	potatoes tomatoes volcanoes mosquitoes heroes cargoes
Exceptions - no *e* before *s*
photo piano solo silo merino dynamo	photos pianos solos silos merinos dynamos
When a singular word ends with yo or io, add an s:
ratio studio radio embryo folio curio	ratios studios radios embryos folios curios

What does it all mean??!

A noun is a naming word or an object (e.g. shoe, house, computer, employee).

Examples:

one potato
two potatoes
two potato's is WRONG

one tomato
three tomatoes
three tomato's is WRONG

one piano
two pianos
two piano's or pianoes is WRONG

one studio
five studios
five studio's is WRONG

Unless you have a school teacher who is correcting your work, you probably have no-one who proofreads for you, who can spot the errors ... and yet it is so important. As working adults, many of us are required to do a fair amount of writing for our jobs, no matter which field we are in, so taking the time to learn grammar, apostrophes, punctuation, parts of speech and commonly misspelt words, will be a skill we can build on and improve with practice. Good luck!

Whenever I begin a short story, I remind myself of two things: to try to get in touch with readers' senses as much as possible by writing something to see, hear, touch, smell, taste, and feel (emotionally), and to try to keep nine points, specifically, in mind when writing my story in hopes of composing a tightly-written story that sticks in readers' minds. Those nine points are as followed:

Focus - Some of the most successful short stories I've read are the stories that stuck to their themes and storylines. They pulled me and kept me reading by maintaining a strong focus. It seems the more tightly drawn a short story is, the better.

Theme - While every story I write won't have some sort of deep, underlying message to it, I still like asking myself what exactly will my story be about. I try to answer the question in one or two sentences whenever possible, and notice that when I do, I usually spend less time smoothing out a story, trying to make it "say" what I want it to say. If you're aiming for a clear message, then try asking yourself just what is that underlying message or statement you're trying to convey to readers? Knowing what you want to say might lead you to tighten your writing, and maybe end up with a story that'll linger in readers' minds.

Time Span - Short stories usually cover a short time period. I try to remember to keep my short stories narrowed down by staying focused on the story's theme, and working to paint a picture explaining the main event for readers. In creating three-dimensional characters, I work to keep all of the characters' emotions, thoughts, and actions relevant to the story.

Hook - "Begin your story with a bang." We've all heard that one, haven't we? However, with short stories, I've noticed that it's more often sage advice than not. Beginning your short story with conflict, whether you choose to do it through action, dialogue, or atmosphere and mood, can hook readers and perhaps keep them reading.

Description - I've actually come across submission guidelines where an editor stressed, "More story; less description." Depending on the market you're planning on submitting to, story word limits might only allow you a small amount of description throughout your stories. A publication that wants more action than descriptive writing in stories, and publications that cap their word counts at around 3,500 to 5,000 words, usually place strict limits on the amount of words you can spend on description. On the other hand, publications with story word limits from around 8,000 to 10,000 allow you to spend much more of the story on descriptive writing. Regardless of word counts, I try to remember to make every word count toward the story by avoiding over-describing settings, actions, or characters.

Characters - It's important that I remember not to include too many characters in a short story. Too many characters might cause the story to spin out of control. Sure, I could solve this problem by extending the short story into a novella or novel. But if my aim is to write only a short story, I try to limit the characters. Two or three characters, or, sometimes, even one character, seems sufficient enough for a short story. Only you will know how many characters it'll take to portray your story, but if it begins to seem like your story is growing out of control when you don't want it to, then try to limit the number of characters.

Setting - I recently read an editorial called "This Story Doesn't Stand Out," and thought it was great insight into an editor's mind. The editorial touched on some of the reasons why an editor might reject your story. One of those reasons was that many of the stories already accepted were set in similiar settings, such as the present-day world. The article also confirmed my suspicion of why I'd finally gotten published by SDO Detective, a former online mystery publication, after several unsuccessful attempts--the last mystery tale I submitted was set in Ancient Egypt. Sure, mystery stories have been set in Ancient Egypt before, but there were none at SDO. So, I took the chance, and submitted my story, "Minkah's First Case," which featured a crime-solving scribe. While setting still isn't my main concern when I begin a short story, I make a conscious effort to try to place the story in a unique setting. Maybe by doing so, the story will head down an unexpected road and end up a better read as a result of the journey.

Twist - Every story doesn't have to end with a twist, but an occasional twist can be fun. I enjoy trying to write some of my own short stories with a twist. You can surprise your readers with an ending they should have seen coming, and maybe even leave your readers guessing about your character's fate after the story has ended. I recently read a short story that offered readers three different endings. It wasn't a twist seen often, so I really enjoyed coming across such a story. It was unpredictable and memorable, as are most successful twists. Have fun trying to create your own tale with a twist.

Denouement - I always try to end my short stories in a sensible, satisfying way. A reader left too far in the dark by the end of the story will be an unhappy reader. As a reader, I don't mind being left to wonder a bit about what else might happen to a character after the story has ended, but not to the point where I'm scratching my head at something that doesn't quite make sense where the story is concerned. As a writer, it's important that I try to write a logical, mostly unpredictable ending that tie up all the major loose ends.

While I'm sure I haven't quite written that short story that sticks in readers' minds, I'll keep trying by continuing to practice these nine points whenever I write a short story. Don't be afraid to tighten your story, begin with a "bang," or let your story have a message, a brief time span, good description, interesting characters, a strange setting, and a twist. Happy writing!

Bye bye hard life
I am giving in
running dope
it takes too much
always being
two steps ahead of
the fucking police
now I am relaxing
drinking fine wine
sponsored by my
Swiss bank account

Above the law
it is fun
not to be on the run

Bye bye hard life
I am giving in
it takes too much
to be talking on the phone
with people who can not
get enough
now I am going to rest
in my expensive
royal stressless
I am going to lighten
my big joint
and talk with my friends
about the point
in getting stoned
which is not wrong
because we are
above the law

Bye bye hard life
I am giving in
it takes too much
to always be so tough
now it is time
to slow down
and to travel around
the whole Earth
and try to find
a beautiful girl who can
help me rule my world
it is fun
to be above the law

Everybody died
in a valiant,
if futile,
attempt.

I had an argument with a friend. My last words were precise.

"I'm right!" I said. "Life's meaningless and there is no God."

To prove it, I got out the gun, put it to my head and pulled the trigger. My mind exploded.

Something still bothers me, though... Just can't help wondering about it...

If I was right, how can I be writing this?

-stanley

Staggering out, a broken husk
an empty shell of a man
With fleas for a brain and
a stone for a heart,
he wishes that he can
get at least one good night
one good day, maybe
some minutes of happiness,right?

Bidding her good night as
the bar closes,I walk home
alone like a raggedy cat
another evening without
affection or reflection, being
just the same looser as I
was the night before and
the night before that again..

Sometimes words appear to be in the possessive case but there is no real ownership, such as:

1. a month's pay ["month" is singular, so apostrophe before "s"]
2. two days' washing ["days" is plural, so apostrophe after "s"]
3. yesterday's appointments ["yeserday" is singular, so apostrophe before "s"]
4. last year's bank statements ["year" is singular, so apostrophe before "s"]
5. two years' receipts ["years" is plural, so apostrophe after "s"]
6. girls' underwear ["girls" is plural, so apostrophe after "s"]

Although it looks like there is ownership, it is really called *False Possessive*, and yes an apostrophe IS required in these instances.

NOTE: You put the apostrophe *after* the *s* when the word is plural, as in examples above - Items 2, 5 + 6.

Just remember, not everyone knows how to do this *apostrophe* thing ... even I have to stop and think sometimes, to make sure I get it right. There's nothing wrong with looking it up online ... don't forget to come to the Humble Apostrophe if you're not sure where to put your apostrophe, punctuation or parts of speech! :-)

That's the most common question I get from fellow writers looking to break into article marketing. The truth? Steal them.

Yes, you literally steal ideas and twist them a bit to make them fresh – make them yours.

That leads to another question, how do you make old ideas yours so that they're fresh, new and – dare I say – revolutionary?

Actually, it's not as tough as you may think. Here's a quick and easy formula I use for turning old content into something new:

1.Find an old text. Dust off articles, books and home-study courses from your industry and find content that may be useful to your audience. I know what you're thinking. “What about copyrights, Lisa?” Good question. Unless you plan to republish entire blocks of text from the source material, you won't run into any problems. See the following points to find out why.

2.Pull out key points. Look at the information and pull out the salient points that really jump out to you. I usually highlight the points that are exciting to me, and then I re-phrase those points by putting them into my own words.

3.Add your expertise. Under the key points, you'll want to share a bit of advice and expand on the main idea. The best way to do that is to share some of your experience. Tell an anecdote or story from when you handled a similar situation. For instance, when I was an editor at a large business-to-business newsletter publishing company, I often took several articles, pulled out the main ideas and combined the information to create one short, coherent article. You can do the same.

4.Raise your voice. To make sure you're using the source material as a point of reference only, consider reading your final article aloud. If it doesn't sound like something you'd say to a friend or colleague in the industry, re-write it. In my experience, that's the only way the article will ring true with your readers. Plus, you'll steer very clear of the copyright police – who, frankly, aren't really watching anyway. It's your audience you want to please.

Bottom line: Maybe they have heard this information before, but they haven't heard it from YOU – a battle-tested, shooting straight-from-the-hip expert.

It really is that simple. But it does take some practice. Find two long articles from your industry and boil them down to four or five key points. Then simply expand on those points by sharing stories and anecdotes from your experiences.

Try it and let me know how you make out. This is the best way to find so-called “fresh ideas.” When you look at it this way, new ideas are everywhere.

I really hate my job!

I'm quitting!

Tomorrow.

That good melody
playing on the radio
makes me remember
how you died so suddenly
last September
without saying goodbye
or farewell
to anyone

Driving fast
even if you knew
it could not last

All summer long
you were playing around
with no fear in your eyes
trying to get the most
telling us all those lies
about how daring and tough
you could be behind
the long hood on your sports car

You never knew
when it was time
to say no
to all that cheap speed
and snow
you loved to snort
and at last you had to go
in a stupid car crash

Oh my friend
I wonder
when we will meet again
and get the time
to do all the things
we can be able to
someday soon my old friend
you don't have to walk alone
I will meet you
in the twilight zone

That good melody
makes you remain forever
in my mind
but I still miss you so
it was for sure a great tragedy
to your family and us
who were forced to stay behind
with great sorrow
and old pictures of a friend
who went away for good

The worst thing that
ever happened to me
I cannot tell
but I can feel
that there has been
something going on
that I have not been
aware of
my mind is locked
on the wrong course
and I am heading
against nowhere
with no meaning in
my life

Round and round
no meaning
ever to be found


The worst thing that
ever happened to us
it was the day
when somebody decided
to mislead our thoughts
so that we got lost
from the right path
and the purpose
was to get in command
and have full control
over the world
and those who are
living here
and most of all
they want to control
the way
we speak our words


The worst thing that
ever happened to me
was that they took away
my ability to see
and my understanding
of what it is like
to be free
but I know in my soul
that there is a way
to be found
and I will never give up
trying to find a way
back to my real self
because there is
something missing
and I want to have
it returned
to its right place
where it belongs
from the day I was born

A Lonely Saxophone wails in the night
It is a silent prayer for broken hope
Like the drunkard crying, trying, praying Blowing out,gambling up,
gettin' the straight dope

Fucking up every laid plan
A bum is all that he is
A heap of junk dressed in a old dress
A corrupt,rotten biz

Waitin', hopin', doin' the deeds
Tryin' to find a way
But stayin' like every rotten weeds
He destroys everywhere he lays

As the bell rang
to indicate the start
of a new day,
Dunstan made secret
eyes at the back
of Dee's ponytailed
head, and ached with
an unrequited longing.

He slowly pulled back the hammer
with his thumb until the revolver made
a click that could be heard for miles
in the still, cold Minnesota night.

I am feeling so lonely
in my heart today
we got nothing to say
or do anyway
I am feeling so old
in my heart today
broken time
no more baby
I can't stay here
with you

I am feeling
nothing
I am feeling

I am feeling so poor
in my heart today
we got nothing to say
or do anyway
I just want to go far faraway
but not with you
by my side baby
I will find a new life
someplace
and make everything better
I don't love you any more


I am feeling so empty
in my heart today
we got nothing to say
or share anymore
I can't find any trace of love
which I could build something
lasting and good upon
there is really nothing
left inside

I am feeling so insecure
in my heart today
we got nothing more
to give or receive
and I really doubt
that we ever will find
a way back
so therefor it is best for us
that I walk away today


I am feeling so sad
in my heart today
we got nothing to say
or do anyway
I am feeling bad
but the best for us to do
is to go separate ways
since there is no more
love to be found
I don't care no more

I am feeling so cold
in my heart today
we got nothing to say
or do anyway
I am only feeling gloomy
and there is nothing else to say
our relationship is truly doomed
but there is nothing
we can do
I am feeling nothing
I am truly sorry

It is a tragedy
but you cannot see
what life has turned you into
it is a tragedy
because I once loved you
you were my girl
and now
no one wants you

Searching for something
that can not be found
the only way is down

It is a tragedy
but you cannot see
what your lifestyle
has been doing to you
it is a tragedy
because people used to like you
and now they hate
the smallest sight of you

It is a tragedy
but you cannot see
what you have done to yourself
you thought you were a queen
and now you are locked
in the worst of dreams

It is a tragedy
that no one wants to let you out
but you can blame only yourself
that nobody wants to help you again
you have no friends left
the only way is down
you are burned completely out
from all that speed
and all those fancy colorful pills
and all those men
you went home with

Sincerity is something
that we don't need
because no one is capable
of telling the truth
we are too afraid
to give ourselves
to someone else
who can you ask
when no one wants to know

Who can you tell
when nobody
believes it anyway

Sincerity is something
that no one knows
but people have heard
that there was a time
many years ago
if you looked high and low
and were lucky
you could find one or two alive
that would believe in you
but now there is
no one to be found

Sincerity is something
that we once had
but we did not understand
what we had in our hands
so we threw it away
but we need it so today
because nobody can come close
to anyone no more
everybody lives behind
bolted doors
waiting for something
good to happen
but nothing will ever change
because sincerity has gone away
pray that you will find it
some wonderful day
so you can get a good
and normal life
that you can be real proud of
until the day you die
and reach the sky

Lao stood at the ship's bow,
and peered across the waves
at the land that he loved
and already missed so much
that it gave him a nauseous
feeling in his stomach
to contemplate his absence.

As he eased into the steaming bath, Doggy thought
"well, that's something I'll never try again."

What is it coming to
when are things going to change
why can something like those lies
turn everything upside down
who can give me the answer
to be or not to be
living is not so easy as it seems

What is going on around here
why does not anybody take care
is it because there is nothing
left to be shared
I am trying to set my soul free
so it can help me to get out
of this human playground
I feel that I have gone
too many rounds

What can we do with this problem
I don't have the answer book
but one thing is sure
we have to find the right way
but the map is hidden
and don't you listen when somebody tells you
that it is forbidden to look
and to try to find the way
I am telling you the truth when I say
Self Consciousness is the only way
start today
with trying to find your real self
and soon you will find the map
that will make you understand
why man is man
and that there is a great plan
with planet Tellus
and most of all with man

What is it coming to
when will we be alive and free
where can the right place be
so we can understand what we see
before we destroy everything
in our world mind and life
what is it coming to

Many times I have seen you
on my daily walk to town
but it seems to me
that none of us
is brave enough to say hello
and how do you feel about me
is it so that you really
like me
and want me
to be your friend

Lost and alone
waiting for a storm
to bring us together

Often I have met you in a bar
but you are always hiding
behindyour self made wall
afraid of letting somebody come close to you at all
don't you want some love
to come into your lonely life
for a change
say hey

When I see you I see me
protecting you from being sad
always doing my best
to keep you happy and glad
and comfort you
when you are feeling down
and lost
in this hard world
don't you want me baby
to do all this
only for you

When will we get the courage
to say hello
I hope it will happen tomorrow
because I need to know you
and also
love you

Please please can't you do
what I tell you to
go away go away
and stay there too
go away I don't want you to stay
I am tired of seeing you everyday
go away go away and stay away
because you know I am tired
of you anyway
go away go away
go away right now baby

Go away
I don't want you
to stay with me
go away

Please please can't you understand
that I am no longer in love with you
and there is no use
in hanging around me
go away baby go away
here is no room for you to stay
go away go away today

Please please can't you wake up
there is nothing
more for us to hope for
I can't pretend that I love you anymore
just because you need me to
baby you have to know
that I don't love you
go away go away
go away out of my life

Please please you got to understand
don't drive me too far
I don't need you no more
you got to accept it
don't push me
and don't rush me
you have to go
go away go away baby
go away go away
as fast as you can

Please please listen carefully
because I don't want to harm you
but if I have to
I will follow you through the door

Looking up,
he saw a plane
approaching, and
wondered who
it could be.

We sit together
Talking, Laughing,
Watching the sun shine
Above the serene ocean.
Holding hands, So happy
You are as I am with you,
I never want it to end.
Your eyes sparkle
Like precious diamonds
As you smile sweetly,
Looking at me,
I look back, staring
Into the face of an angel.
Oh no! All is black and
You are gone, I awake
Finding it was all a dream.

-!nversed Poignancy!

We start with zero probability of life after death and then see what evidence for it is before us.

The above illustration shows us that for us to make the conclusion that there is life after death, only one type of evidence for it has to be true. To conclude that there is no life after death, every one of the different types of evidence have to be false (this makes it even more important to evaluate each of the different types of evidence independently of each other and without bias); and yet we still would not be able to absolutely make the conclusion since there may be another type(s) of evidence we do not know about or that evidence does not necessarily have to be revealed to us for there to be life after death.

Taking the illustration, one step further, we can ask statistically, what are the odds that there is life after death (LAD)?

Probability (as a decimal fraction) there is LAD = 1 - (Probability there is no LAD)

= 1 - (a x b x c x d x e,...etc.)

Where a,b,c,d,e,etc. are independent of each other and represent as fractions the likelihood that each of the various types of evidence for LAD are NOT TRUE. And (a x b x c x d x e,...etc.) are the fractional probabilities multiplied by each other. Let us do a calculation using the LAD Top 11 from above:

"1." = a = 1-0.95 = 0.025

"2." = b = 1-0.95 = 0.05

"3." = c = 1-0.95 = 0.05

.

.

.

"11." = k = 1-0.10 = 0.90

Probability of No LAD = 0.025 x 0.05 x 0.05 x 0.10 x 0.15 x 0.50 x 0.80 x 0.80 x 0.80 x 0.90 x 0.90

= 1.9 x 10^-7

= 2 in 10 million

= 1 in 5 million

Probability of LAD = 1 - 1.9 x 10^-7

= 0.9999998 = 99.99998 %

Note: I have used values that I personally believe to be representative; though liberal, in my opinion, in favour of no LAD (ie. erring on the side of no LAD). Most of the people who would be considered the worlds leading researchers and scholars in any of these areas would, in private and 'off the record' at least, give a higher probability for their (chosen) area being evidence for survival of consciousness than I have. Therefore, if we were to take a representative sample for each of the 11 evidence types from 11 separate groups of these experts and then do the preceding calculation with the values each group would assign, I would expect the probability of life after death would come out higher than 99.99998%. You, the reader may substitute any numbers from 0 to 1 in the calculation based upon your personal evaluations (to try to ensure independence, input parameter values as if have no knowledge of other types of evidence) and any number of evidence types you believe to be relevant. If I had used more than the eleven types of evidence I did in the calculation, then the odds in favour of LAD would be a bit higher (though not so much that they would be increased by an order of magnitude).

We need to be aware that if there is alien or inter-dimensional being manipulation (no matter how improbable this being the case might be) of the evidence (in whole or in part unless it was for only one evidence type manipulated or fabricated) for an afterlife, then these evidence types would no longer be independent of one another and this probability calculation would no longer hold up.

For curiosity (although it does not tell us the probability of life after death), let us estimate the probability that all of the 11 different evidence types mentioned above are all true:

Probability they are all true = 0.975 x 0.95 x 0.95 x 0.90 x 0.85 x 0.50 x 0.20 x 0.20 x 0.20 x 0.10 x 0.10

= 2.7 x 10^-5

= 1 in about 40,000

= Which works out to a very low probability even though with the very same inputs the probability of life after death is extremely high - this is because throughout we have treated each evidence type as being independent of one another.

Anyone who inputs "1" above for any of the evidence types (ie. 100% probability that particular evidence type shows there is life after death) is either bringing some faith into it and/or has some special knowledge in the area which some may potentially have. The same applies even more so for someone entering zero (ie. 0% probability that particular evidence type shows there is life after death) - as it cannot be done scientifically and rationally and would require some sort of special knowledge to do so (I do not see how anyone could be in possession of such for most if not all the evidence types). Entering zero might also be improperly done by individuals who even know nothing or virtually nothing about that particular type of evidence.

Not knowing of this analysis, atheists would simply answer zero for all the evidence types but that is where their irrational bias would be clearly exposed for to do so would require a special knowledge and understanding of these evidence types which no one I can see on earth possessing in the negative. Mere mortals, no matter how dismissive they are of the particular evidences, would still have to input numbers greater than zero (such as 0.01, 0.005, 0.02, etc.; though the odd zero could still be rationally inputed). They may end up with say a 5 to 10% chance of life after death but their atheist belief system would be no longer (mathematically and logically at least).

However if they had read this analysis prior and understood how it worked, one would have to get them to answer to each of these evidence types separately to get their honest opinions (though this probably would not still work) otherwise they would probably be clever (but not honest and objective) and input very small numbers close to zero and some zeros to get their probability of life after death estimate as low as possible and yet rationally still plausible - so as to be as close as possible to zero probability of life after death as they can get away with.

The ancient problem was how to model modality, Parmenides' world was necessary through and through, no contingency: if only what existed existed then it necessarily existed, was the intuition. All there is is the set of actual things. Possible worlds modelling, Leibniz, Frege, showed how to formalize necessity, contingency, possibility, impossibility by designating all actual things in all possible worlds. Modal realism of Lewis is thus nominalist strategy (slightly ironic since nominalism aspires to ontological austerity). Alternatively Plantinga claims that we can be actualists (only the actual world exists) and can still have a metaphysics of modality by positing that (or is it having a revelation that?) immaterial, mind- and matter-independent Platonic entities, such as essences, properties, propositions and states of affairs, are taken to exist in addition to matter. The nominalists about universals are typically nominalists as well about the philosophy of time: Particulars have temporal parts (are spread across time) just as they have spatial parts. Thus you never really change: we just experience different time-slices of you. Like all particulars, on this view you are a spacetime worm. That's how the omniscient god sees you, looking down on all of time spread before him like a plane: you're a spaghetti-like thing stretched across it. Notice this parallels the way you are smeared out across possible worlds on the nominalist view. On this view, all points in time are equally real (like all points in space).
The Platonists hold that objects in time are wholly present at each moment in time. They identify the particular with a form ("substance") and thus have no problem about the identity of the particular changing because constituent matter is changing. For the same reason they have no problem with holding that only the present moment exists (Aristotle in a nominalist mood argued that only present moments did not exist, as "moments" are conventional boundaries of divisible amounts of time, and so past times are bounded by past moments, future times are bounded by future moments, and "present" time periods are bounded by one past moment and one future moment.)
The problem of fate is really just a version of the problem of modality. It's really more a problem about the present than the future. Notice that both the Platonist and the nominalist claim to offer solutions to the problem: they both claim they can explain what we mean when we talk about necessity, contingency, and probability. But both schools have to adapt and revise to do it. Nominalists initially insist that only concrete particular things exist, and later develop modal realism to try to avoid the fatalistic implications of their original position. Platonists initially insist that eternal and unchanging Platonic entities shape the material world, and later try to adapt this ontology to account for modality.
So one question is, which feels freer, the nominalist view of time or the Platonist view of time? (Nominalist view is "B-series" re McTaggert, Platonist view "A-series"; that is, B-series refers to the model of time as a dimension, with all points equally real, while A-series sees time as moving through the present). Nominalist says tenses are indexicals. Platonist says tenses are metaphysically significant.

I've got a strange funny feeling inside of me
that you are going to leave me
one of these days
but I don't want you to leave
I don't want you to let me
be here all alone
baby baby don't go away
baby baby don't leave me alone

I love you so
I need you too
don't go don't go

I've got a peculiar funny feeling about you
is it really so that you must go
I don't know what to do
with or without you
we have been together since
we were young
we have been together always
you and me
I want you to stay with me
baby baby you have to understand
baby baby don't let me down
baby baby you know that I am your man

I've got a strange evil funny feeling inside
that is tearing me apart
and ripping deep into my heart and mind
if it is like the way I think
then you have to tell me the truth straight away
and don't behave like everything
is like in the good old times we once had
because it makes me want to drink and drink
to make me forget
I want you to know that I love you
and that there is nobody else
I will do everything for you
baby baby tell me what to do
baby baby show me what you like
baby baby let us have a new life
become my wife

What's the price of living,
What's the price of dying,
Give me the price of the door
to another world...

Rupees three on a log,
to a shake-and-bake
death on a stick,
smoking up your life
with a glass of brandy
in your hands..

Payment in my wallet
back-pay or payback
for a life full of misery
past-time in a bar
killing time, killing mind
with too many drinks.

Congratulations! You’ve spotted a great short story competition and decided to enter. You’ve had a go at a few short stories in the past and you’ve been wanting to tackle a novel for ages, but the idea was way too daunting so you’ve just shoved that to the bottom of your life’s “To Do” list. A short story is a much better idea, isn’t it? It’s just like writing a novel only shorter. Right?

Not exactly!

It’s been said that it’s not that a short story is long, it’s that it takes a long time to make it short. The idea that a short story is just a mini novel is an idea that will mean certain death to the success of your short story, before you’ve even written the first sentence.

There is an art, and a process to writing a short story, just like there’s an art and a process to writing a novel, a non-fiction book or an essay. Success is a matter of knowing the basic principles, and then applying these to write the best short story you’re capable of.

The question is, do you have the stamina to make your story short?

That question is easily answered by walking step by step through the writing process.

1. Planning

No matter what you are writing, you need to have a plan. Would you attempt to build a house without plans? Or would you set sail on the high seas without a map and compass? Writing stories is exactly the same. Set out without a plan and you will undoubtedly become lost in a forest of your own words.

Some simple questions to ask yourself at this early stage include:

* Who is your main character and what is their predicament?
* What do they want? How can they get out of their predicament?
* Who or what is stopping them getting what they want?
* How can you apply pressure to your character to force them into making tough choices in pursuit of their goal?
* What will your character learn over the course of the story?

Beginning by answering these few questions will help you know who your character is, what they want, and how they are going to go about getting it.

2. Writing

Once you have a plan for your story you are ready to write it. When you are writing, you are just writing. You are not editing and you are not planning, You are writing. This specifically means that you don’t stop to wonder if “this way sounds better than that way”. When you are writing you are capturing the essence of the action in your story. You are writing a draft, not a finished product. At this stage don’t even think about your word limit. Just write the entire story as you have planned it. We’ll take care of the word limit in the editing and rewriting stages.

The writing stage is similar to mining a diamond. When a diamond is mined it is a chunk of rock, with a few glittering pieces to show it is actually a diamond. You don’t mine a beautifully cut and polished diamond from the side of a mountain, do you? No, you have an amazing piece of raw material, which you then take to a jeweler who will cut and polish it to show its beauty to its greatest advantage. In the writing process, the jeweler is the editor.

3. Rewriting

Once you have completed the first draft, the very best thing you can do is walk away. It can be difficult to get any distance from your own work, but it is virtually impossible if you try to plan, write, rewrite and edit your story in one sitting. If possible don’t look at it again for at least another day. This allows your story time to rest and “breathe”, and when you return to it you will see it in a fresh light.

When you are ready, re-read it straight through once without stopping, and without making any changes or marks in the margins. Once you’ve finished the first read, ask yourself one question: did I write the story that I set out to write? If the answer is no, don’t panic. It’s amazing how the real story you are meant to write comes out in the writing. At this stage your main focus is to ensure that the intention of the story equals the result. In other words, the story has to make sense, and must flow from beginning to end, with all questions raised at the beginning being answered by the end. It is quite common to do comprehensive rewrites of the first few scenes, as the story you really wanted to write didn’t surface until after you’d really got cracking. That’s ok. Just go back and rewrite any scenes you need to, to make the story flow from beginning to end.

Some other important questions to ask at this stage are:

* Are there any great leaps in time or place? It is generally best to keep these leaps to a minimum in a short story.

* How many characters do you have? It’s never a great idea to have more than three major characters at the most, and I’ve read great short stories where there is only one. Save the huge cast for your novel.

* Does the story continually move forward? It’s very easy to have two or maybe even three scenes showing the same thing about your character. A scene is a unit of change – if a scene doesn’t move the story forward, it needs to be cut or rewritten.

So rewriting is re-seeing and re-sculpting. The main purpose of this stage of the process is to make sure the story makes sense. There is a logic to story, and if there are any great leaps in time or place, you may need to add some small linking phrases. Once you are happy that the story flows in sequence you are ready to move to the final phase: editing.

4. Editing

You now need to step entirely out of your creative right brain and into your logical and analytical left brain, to refine and polish your story.

Firstly, look at your word count. Are you way over, way under, or pretty close to the mark? Never submit a story that is over the word limit. Respect the requirements of the competition and keep within the word limit.

Now read your story again, this time with your red marker in hand and a critical eye on the page. Some questions you need to ask at this stage are:

* When does the action begin? This is where your story begins. It’s tempting to “set the scene” and “show character” but the reality is, you don’t need to. The story always begins where the action begins. If there is anything that needs to be explained you haven’t written your action properly.

* Is all the action on the “spine” of the story? Edit out any superfluous material. Again, save it for your novel.

* Show don’t tell. This means, don’t tell us about someone, show us their character by putting them into difficult situations and let us discern their character by the choices they make.

* Edit out all explanation. As a general rule, ask yourself, “is it an image?” If it’s not it’s probably explanation and needs to be cut.

* Is there a “solution” to the story? Does the story deliver what it promised?

* Now is the time to ask, “is this the best way to say this?” If not, write it again, and say it better.

You may find yourself rewriting, editing, rewriting, editing over and over. This is completely normal! Most good short story authors do at least 15 drafts of their short stories before they are happy with the result.

So, you’ve made it through the process and you’re ready to send your story off to the competition. Make sure you double space it, that the font size is big enough to read easily and that you’ve put enough postage on the envelope!

And good luck!

The engine car
hurtled recklessly
along the rails
with its load
of coal shaking
behind in
violent respect.

Worker 1: "What're you watchin'?"

Worker 2: "The Riots. People looting. Shooting at each other. They're burning everything."

Worker 1: "Wow." (Pauses.) "How'd things ever get so bad?"

Worker 2: "Don't know." (Looks at watch.) "Gotta get back to work."

What are you going to do
when you no longer
are so hip and hot
the time everybody
realizes that you are
a complete idiot
what are you
going to do then

Cool to be cool
when you don't know
that you are only a fool

What are you going to do
when the girls no longer
turn their heads
to look at your black Benz
because they have all heard the words
that you are an untrustable fool
who is only playing so cool

What are you going to do
when no girl in this town
is willing to hold your hand
it won't help you at all
if you moved to another land
a fool is a fool
wherever he puts his foot down
you better start behaving
and stop treating everybody
like they were your
personal slaves

What are you going to do
when you can't find anyone
that will love you
because everybody knows
what you like to put in your nose
and how you act
to get your will
just to satisfy your cheep trills

Writers writing about writing may seem to be a highly conceited act. Since I am not reeaaally a writer, or at least I don't claim myself to be one, I guess me giving tips on writing can be taken casually. Preferably with a pinch of salt. I may not have contributed much to the world of print but I do know a thing or two about being a connoisseur for writing. Apart from blogging and writing articles currently, I used to write award winning poems and short stories during my earlier days. Overtime everyone develops a style of doing something; anything. For writing, I know I have a certain style by now, though there is way too much room for polishing up.

The initial stage is the creative process which is something that we do not need to understand. There is nothing to understand because creativity does not have to make sense.

Creativity starts with a feeling. The kind of feeling to do something on an instinct. Artists, just like writers, start off by doing a piece of work randomly. It may not make any sense for a start, but at most times it triggers off a new idea in the artist's mind to create something creative. Same thing happens to writers, initial works may be shown the path to recycle bins but end up being useful by sparking off something of value in the writer's mind. Probably that is why recycle bins are named as such, to be recycled. Anyway, once we get an idea, we have to grab it quickly, just like grabbing a seat in an extremely crowded bus, and hold on to it in order to use it.

The creative process may seem complex. To ease the complexity we can simply develop the good old habit of reading. Actually not can, but we should read. Unless we read, we can't write. It is as simple as it gets.

The next simple, or maybe not so simple, task is to write frequently. As frequently as possible as much as time permits. Okay that seemed like a redundant statement but you get the point. The more we write the lesser the chances of getting a writer's block. When I mention writer's block, I don't mean getting some column to write in a magazine but I am refering to a mental block in terms of writing. The more we write, the more we learn to write in a fluid manner and develop a style of our own along the way if we have not got one already.

As we continue writing, we will slowly discover our voice. When that happens, we get to know about ourselves better.

Oh and one more thing, of course the nitty gritty details like grammar and spelling errors have to be avoided. That's right, totally avoided. For people like me *ahem*, it has become a habit long ago but that is because I made sure I was conscious of that. Proofreading is of high importance. Proofreading one more time after proofreading is of high recommendation. Most people don't enjoy it but fortunately I do.

Speaking of which, I just got to know some time back that there is actually a job for proofreading alone. Hmm, I am seriously considering it. Anyway, if you find the above useful, try it. If you don't, hmm, try it anyway because there is something to be gained along the way I am sure.

I'm famous.

People recognize me. Some call my name. Others give me things. TV stations film me. I attend gatherings thrown in my honor.

All from fifteen years living on the street.

I was caught for words
because the only words
I knew and could say
was those pesky four-letter words
You know the kind that
would bleep out on the television

The kind that would make
the spine curl, the dick shrivel
and would cause the nation
to loose the war

So I said them anyway
just for the hell of it
Nothing bad happened
except for the priest
gnashing his false teeths
for a minute or so

It’s summertime in Australia and summertime in Australia means one thing – cricket! And if there ever was a “mental” sport, it’s cricket. I was watching a test match last week and one of Australia’s greatest ever players, and captains, passed the comment that once you get to state level cricket (the step beneath playing for the national team) the game is played almost entirely in the mind. That is, a player’s success or failure depends less on his physical talent with the bat or ball, than on their mental strength, attitude and aptitude for the highest level of the game.

This is not the first time I have heard this. I have heard it said that all sport played at the highest level is more than 90% a mental game. This means that what goes on inside the competitor’s head largely determines their success or failure.

Over the years I have studied the great storytellers, in an attempt to ascertain what sets them apart from others and sees their books sell in the millions, while tens of thousands of manuscripts never see the light of day. After hearing Ian Chappell’s comments on the cricket, I asked myself the question: What if writing too is a mind game?

In an attempt to find an answer to this question I turned to one of the pioneers of thinking, Edward de Bono, and found that his seminal work on the Six Thinking Hats® applies perfectly to the art and craft of writing. So here is my version of the Six Writing Hats.

White Hat – Facts and Figures
This is particularly important if you are writing articles or non-fiction of any sort. You must first do your research, collect all your data and organise the facts. For the fiction writer this is where you do your research on anything from location to the ins and out of different professions, to the history or biography of a person, people or place. I read once that Robert Ludlum studiously researched all his locations, drew maps and noted landmarks and interesting features of all the settings for his novels. This leant a sense of authenticity to all his work, and makes reading his books similar to watching, say Sex and the City (where New York was dubbed “the fifth lady”), or Sound of Music, where the landmarks of Salzburg featured so prominently you can still go to Austria and take the Sound of Music Tour. If you have based your novel in Paris or New York, or your main character is a lawyer or a stockbroker, it is imperative you get these details correct. Otherwise you wi!
ll lose your reader before they’ve even started reading your story.

Red Hat – Emotions and Feelings
The most critical factor in reaching your readers is the ability to engage their emotions. When writing fiction, I advocate feeling the feelings of your characters while you write, as this brings the feelings through in your images; images your readers will identify and resonate with. A similar approach applies to writing articles. Are you wanting to make your readers laugh or cry? Are you seeking to evoke empathy for a cause or a person, or are you trying to scare your readers into taking some action, or jolt them into awareness of a problem? Emotions are the universal language. We all feel the same emotions – whether your spoken language is English, Greek, German or Spanish is irrelevant. Smiles are smiles and tears are tears. A great example of this is one of the stories in the movie Love Actually where an English man goes to Portugal to write a novel and his maid does not speak a word of English. They end up falling in love, and the only language they use throughout thei!
r courtship is the language of emotion. So when you write, I encourage you to write with emotion, whether it’s outrage or love, anger or joy, passion or resentment, it will come through to your readers. Emotional intelligence is something every writer must develop in themselves.

Black Hat – Cautious and Careful
The black hat is the tricky hat. It is absolutely essential, but it must be used very consciously and precisely and must be firmly tucked back into the cupboard once you’ve finished with it. I like to think of the black hat as the editor’s hat, quality control or the “voice of reason”. When you’ve brainstormed some great scenes, or come up with a fresh angle on your article, put on your black hat and ask: Does this really work? Better you ask yourself that before you go to all the trouble of creating, crafting and honing a piece of writing, submitting it and then being rejected. You can do that yourself. When you have your black hat on, step out of your creative self, and look at your work from the perspective of an editor or a publisher. Look for the holes in your work, look for the breaks in logic or flow. When writing a story you need to your black hat on after planning and before you start writing. Story has a logic to it. Don your black hat and you’ll save yourself a st!
ack of time. Just remember to tuck your black hat away again before you start writing. Otherwise your inner critic will destroy anything you try to do.

Yellow Hat – Speculative and Positive
This is the very best hat to have on in your planning stages. When writing fiction your yellow hat will create those larger than life characters that are the centre of all good novels, simply by pushing them beyond all accepted limits. Remember it’s not what we would do when we are bound by the strictures of polite behaviour that creates great stories. It’s what we would do in our wildest fantasies that creates dynamic fiction. This hat also helps with developing strong premises and major ordeals, massive story climaxes and earth-shattering revelations. Don’t ever be afraid to push your story right out there. Always come up with three alternative scenarios for any given situation, pushing your character further and further every time. Then go for one more. The most outrageous, the furthest out option is usually the one you’ll end up using. If not, you can always pull it back in the editing. For the non-fiction writer, this is where you go for your fresh angle, look for new o!
utcomes, raise new opinions and get your readers really thinking about your writing. Why would they want to read an opinion or an article identical to someone else’s? Really push your own opinions out onto a limb. That’s where you’ll get noticed.

Green Hat – Creativity
Ah! The mother ship of all creative writers. To let your creative imagination run free, you must write with your green hat on. The words and images come up for you in your own unique way and you owe it to yourself to write them down just as they are, completely uncensored. You can don your black hat when it’s editing time. When you are writing, you are just writing, so allow all the research, the planning and ideas you’ve had to sink into your subconscious and just watch the magic emerge. If it happens to be a three headed pink monster with legs like a chicken, then so be it. Even if you’ve set out to write a serious crime/thriller. Your creative imagination knows best. Trust it.

Blue Hat – Control
I liken the blue hat to the planning process in writing. If the blue hat is the “ringmaster” in Edward de Bono’s model, then it is the story or article structure in writing. All good stories have an outline, at the very least a beginning, middle and end, as do all articles. And it’s well known that the best way to write a non-fiction book is to write out all your chapter headings, then your sub-headings and a short synopsis for each, then “fill in the blanks”. So the function of the blue hat in writing is to plan your work before you begin, and keep your eye on your plan as you go. If you begin to deviate from the plan, that’s fine, it’s simply time for a new plan. But always have your blue hat nearby to plonk on your head to keep control of where you are and where you’re going with your writing project.

It’s important to remember that as a writer you are not just a creative artist. You are also a project manager, an editor, a researcher, an analyst, a cheerleader and a daredevil. Keep your Six Writing Hats by your side and switch effortlessly from one role to the next to guarantee the success of your next writing project.

Lester wiped the sweat
from the back of his neck,
dropped the wrench by his side,
stared up at the sun,
and whispered the word "shit."

Why do i write?
Can i even call it writing,
Or is it more like scribbles across scraps of paper?
I have been scribbling for years, Never letting anyone see.
Then something hit me, I was inspired,
Now the world sees all my scribbles.
The same as when I draw,
I pick up the pencil and with every word,
A piece of my heart, mind, and soul is set free for others to feel.
Conscious I am, Picking my words carefully,
Hoping not to spill too much.
What goes on in my mind comes out in these words,
But my mind is in chaos, and it’s hard to decipher.
My thoughts are divulged one after another
As I scribble across my papers, Ripping them out,
I start over until I am satisfied.
Ramble is all I do, so I shall stop with this,
As I may reveal something more personal
As to why I really do write.

-!nversed Poignancy!

Gloria looked at her son
-- this virtual stranger of a man --
and forgave him everything.

Tears cascade headlong like a river,
Deluging the demesne of my hearts woe..

My sapient thoughts hypes the shiver,
But my heart refuses to let go..

More you spawn your feelings about him..
I am drowning as my lungs catch no air..

My heart beats like a madman for you cannot see,
What lies in front of you- a love so unyielding,so very wee

Day in and day out my heart beats for one as it aches,
To give you my love-my life and happiness..

Blued and morosed...I wait in the dark,
With my heart-ready to bequeath in yours...

Now..Amidst the travail,it stands timeworn..effete and bereaved..
With only a dream of ever possessing your love..


-!nversed Poignancy!
Dated: 24/08/2002

(Picked this one out from the 'attic')

No one ever told me
that it would
be difficult like this
falling in love
is very hard
when she never smiles
how can I play
my cards
so I will constantly win
the first prize
in the lottery of life

Seems like there
is no chance
to have a hot romance
her nose is
too high in the sky

No one never said
anything to me
about feelings inside
like this
when you try and try
and never get
any reply
to the good
thing you will give
for the only one
in your secret dreams
I have never
noticed before
how cold it can be
when the girl
you love
crosses the floor
and walks out
the door

Why can't it never be
you and me
sharing the joy of life
tell me
have you been asked
to become somebody
else's wife
or do you really like
to be on your own
looking at the
male clowns
that are fooling
around

Hello there pretty girl
it is time to wake up
don't act so high class
give a lonely boy a chance
to experience a good dance
before it gets too late
to get a sober date
don't wait too long
you are not
so young

No one never told me
that life would be like this
it is hard
but it is the only one
and I will work it all out
so just wait and see girl
you will greet me
when we meet

A dirty glass on a gritty table
filled with golden oblivion
on ice and lemon on the side
bitter taste for bitter memories
of a love lost, or never had
can't say I'm all that, though..

A worn-out hat hanging
on a dumbwaiter on the wall
waiting for me, calling my name
like silent whispers in the smoky air
while I'm chatting up some lush
with too much makeup and
too little grace, drunken out of
her mind and stoned out of
her soul..