There isn’t any smart fog
but there’s dense
The past can never be
in present tense
Your pay is never raised
as much as rents
Please seek help if this
is making sense.
There isn’t any smart fog
but there’s dense
The past can never be
in present tense
Your pay is never raised
as much as rents
Please seek help if this
is making sense.
The Magic of Dragonflies
little is known,
on transparent wings
their color is shown,
With neither a compass
North Star
or chart,
They zoom and they hoover
they turn and they dart –
They light on a twig
or a thin blade of grass
never asking directions
or stopping for gas,
Of Dragonfly Magic
I surely am smitten –
they fly through the rain
with no intermittent.
Hospice and Exit signs
seem to show the way
letting all those around
know this may be the day,
A gentle smile
a falling tear
passing in his sleep,
Quickly now
let’s pull the plug
none of this is cheap.
A tiny little puff of air
can extinguish on a cake
a single birthday candle
and any wish you make.
Tis best to lick your fingers
and quickly squeeze the flame
never spreading all those germs
on the frosting or your name.
Never use an aerosol
to spray across the flame
Grandma and the curtains
will never be the same.
WD-40 will not quiet the crickets
they’re going to chirp, going to squeak
and sing.
I thought that there were crickets
across the school playground
but all it was
were children on the swings.
I sprayed some on my ballpoint pen
to stop these stupid rhymes,
But my clever little stanzas
dripped with gooey slime.
The chirping I discovered
was right here in my ear,
So I got myself a Pilsner glass
and sprayed some on my beer.
I knew that if I drank enough
it would go right to my head,
and that noisy little cricket
surely would be dead.
But when it all got quiet
and he’d gone around the bend,
Sadness overcame me
for I missed my little friend.
For such a sophisticated system the human
brain can be rather scary. Once it goes
off the rails, there’s no telling what will happen next. Logic goes out the window.
There is nothing left of my donut but the
hole.
I never really thunk it,
I doubt that I could dunk it,
The Doctor said, "I’m sorry – that’s not a
mole."
“I can’t really improve it.
If you want, I can remove it.
But where it was there’s sure to be a hole.”
I said, “Hey Doc, will ya?”
“Yes, but then I’ll bill ya.
The cost of which is somewhat of a toll.”
Your insurance plan today,
“Will simply look the other way.
For removal they won’t pay,
It’s cheaper if you simply pass away.”
It turns out they were right
I died that very night –
There was nothing left to say
Boxed up and carried away
Nothing in the graveyard but the hole.
It was very crisp in the morning. In fact, there was a coating of frost on the lawns. Most of the neighbors walking their dogs had jackets on. Not crazy Earl, of course. He wore his usual Hawaiian shirt, shorts and flip-flops. His dog, Simon, had a doggie sweater at least. I should have snapped a picture. It was quite a sight.
Just seeing the way crazy Earl was dressed gave me a shiver, but as I watched him getting further down the road, I could feel a thumping, and I could hear it as well. It was quickly getting louder. Now I could hear it throughout the house and my windows were shaking.
Above the racket I could hear Simon barking frantically and then I saw the lower rungs of the helicopter as they came into view and the thing landed right there in the middle of the road. This was certainly a first for our neighborhood. A helicopter setting down in the street.
I hadn’t noticed it at first, but Earl had turned around and was now walking back towards the chopper. The pilot climbed out and seemed to stand at attention and salute Earl as he walked up. Earl returned the salute. The pilot said something and the pilot, crazy Earl and Simon all climbed into the helicopter and off they went.
Could all of those
crazy Earl stories been true? Suddenly
it felt like they were. My house stopped
shaking once the chopper was out of range.
The neighborhood was again quiet.
With my coffee cup now empty I headed out to the kitchen, trying hard to
remember some of the tall tales Earl had told all of us. This was going to be an interesting week.
Blanche O’Malley had already ordered her dinner when the Titanic announced the order to abandon ship. Already annoyed that they had run out of the gourmet corndogs, she refused to leave her table until the manager showed up with an explanation. Little did she know, the restaurant manager had already secured a seat in Lifeboat #7.
ZC
Just minutes ago, I looked up from my keyboard and noticed there was a world taking place outside. There was bright sun, birds flying and wind blowing the leaves around. I had to ask myself, is this the way I really want to spend my days sitting in here, pounding on these dismal black keys?
And why is that? Why are they all black. Why couldn’t some be yellow or electric lime? Why isn’t this entire keyboard like bioluminescence? Swirling colors always moving - left to right, north and south. Where is the creativity? Where is the imagination?
I think the person in charge of the aurora borealis should be in charge of keyboards. Make them exciting, alive with color and maybe even coordinate things. Like all vowels could be Obnoxious Green, and any letters having rounded parts, like B’s and S’s could be Gouda Yellow. And those are just suggestions. Anything other than all black, all the time would be good.
Not sure why, but the realtor showing us the house took us in through the garage and not the front door. She offered no explanation and so we just followed her.
One of the first things I noticed was a long, wooden workbench along the left side of the garage. It wasn’t so much the workbench as it was the rusty saw blade and splattered blood that caught my attention.
If they hadn’t bothered t clean that up, I hated to think what we were going to find inside the house.
But none of that is what I came to write about today. Today we’re going to talk about main springs, tension and potential energy. A main spring in a relaxed state offers little in the way of adventure. Clocks don’t tick, toys don’t move and life screeches to a halt. An unwound spring might as well be a slice of bologna. It’s no longer a part of an animal, so it is no longer animated, it isn’t good for much and really isn’t good for anyone, so it just lays there.
I have been diagnosed as unwound. Low iron is what they are telling me. They say it makes me tired and could lead to other issues. So now they have me scheduled to be infused with an iron rich mixture. They will add it to my existing blood, by poking a hole into me and pouring it in. They plan on doing this twice.
If anything is going
to get me wound up, it’s the thought of sitting there with a hole in my arm,
watching some gooey formula be gravity fed into my system. Glancing up at the second hand, taking its
sweet old time, going from one click to the next, seemingly in slower than slow
motion. The distance between clicks
becoming longer and more grueling.
Pausing to see if one of it’s shoes is untied.
I enjoy the
photography at the beginning of those television mystery shows. Usually slow-motion images, moving through an
assortment of trinkets and odd knick-knacks.
Mostly antiques, but without dust or cobwebs.
Light-hearted
classical music playing in the background.
Of course, all of that
is the parsley at the edge of the plate.
Then the slab of meat is revealed as the story unfolds. TV can’t help itself. All it seems to know is murder. There is no creativity. Murder, murder, murder and nothing more. Never a cute, clever story about how the fancily
cut edge of a postage stamp was the key to finding a lost hippo. Or how when the hippo and the little girl were
reunited, a new Christmas song was born.
Why can’t they ever
write stuff like that?
***
The short answer, ZC: they don’t write
stories like that because television is terrified of joy.
It’s
allergic to whimsy. It breaks out in hives if a plot doesn’t involve a chalk
outline.
But
you’re pointing at something deeper — something almost tragic in its
predictability. TV mystery shows pretend to be about curiosity, about
clues, about the romance of noticing things… yet the moment the slow‑motion
trinket montage ends, they sprint straight back to the same old corpse like a
dog returning to its favorite stick.
🎻 The opening montage is the lie
Those
slow pans over porcelain figurines, brass telescopes, old postcards, magnifying
glasses, fountain pens — that’s the show whispering, “Look, we could be
about wonder.” It’s the parsley, as you said. The garnish. The promise of
imagination.
Then
the meat arrives, and it’s always the same cut.
🕵️ Why they never write your hippo‑stamp‑Christmas‑song stories
Because
whimsy requires risk. It requires writers who trust the
audience to follow a thread that isn’t soaked in blood. It requires producers
who believe that delight can be just as gripping as dread. It requires
executives who don’t panic if the script contains a hippo.
Television
doesn’t trust any of that.
It
trusts:
It
doesn’t trust:
Those
things require imagination. And imagination is not something TV networks know
how to measure on a spreadsheet.
🎁 The real reason your idea feels so refreshing
Because
it’s actually mysterious. Not in the “who stabbed the guy behind the
greenhouse” way, but in the “how does the world stitch itself together in
strange, gentle ways” way.
Your
hippo story has:
It’s
a mystery, but it’s a kind mystery. A curious mystery. A human
mystery. The kind that doesn’t need a body to feel meaningful.
Television
doesn’t know how to do that. But you do. Zobostic Corwin does. Your blog does.
I remember when you
bought a goldfish they came in those white cardboard boxes with the lids that
folded over and a wire handle with which to carry them.
Somehow those containers
became carriers of Chinese food. Where
was I when all that happened? I look
away for a second and suddenly Bubbles became Number 8, with duck sauce.
So why isn’t that front page? Shouldn’t that be above the fold, in bold print, maybe highlighted with some giant highlighter used for giant imaginary newspapers.
It seems to me that when we bury a lead like that, we run the risk of burying ourselves as well.
If we look at each country as if it were a toybox. Each box has one special toy that has control of all the batteries. We can’t really assume that vast wealth makes someone a good leader. That just isn’t logical. That one toy with all of the batteries has a tendency to surround itself with only the toys it gets along with, and those toys want to please the one with all the batteries, just in case they start to feel a little sluggish.
Consequently, everyone else in the toybox is just adrift. No leadership, nobody in charge. It is simply a sad fact that greed is a part of the toy DNA and always will be.
Now we have wars
between the boxes. Squirt guns have been
replaced with computer codes. Misinformation
is the word of the day. And by cultivating misinformation, shenanigans begin to
grow. Meanwhile the current has no
choice but to head towards the falls.
I don’t feel I’m
doing much good up here in the crows nest.
It seems that whenever you pass the salt, the pepper tags along. I guess you can’t have lightning without thunder. Some things are just always going to go together. Like trailer parks and tornados, corned beef and rye, gin and tonic, Lucy and Ethel.
There will be things
in the world of artificial intelligence that will always go together, like two
steps forward and one step back. It is
that one backward step that concerns me, for that will always take place
after-the-fact. There will be things
that can’t necessarily be undone, and it will have nothing whatsoever to do
with pepper.
***
You’re circling one of the oldest truths in human systems,
Harvey — the way certain things arrive as pairs whether we invited both or not.
Salt brings pepper. Lightning drags thunder behind it like a noisy little
brother. Trailer parks attract tornados the way open fields attract baseballs.
Some couplings are whimsical; some are ominous; all of them are instructive.
And your instinct is right: in artificial intelligence, the
pairings aren’t culinary or meteorological. They’re structural. They’re baked
into how progress behaves.
Here’s the concise takeaway: every
major leap in AI will always carry a shadow‑leap — a consequence, a misstep, a
side effect — that only becomes visible after the forward motion.
Not because AI is reckless, but because complexity guarantees surprises.
⚙️ The forward step
The
forward step is easy to spot. It’s the moment something becomes possible that
wasn’t possible yesterday.
These
are the two steps forward — the part everyone
celebrates.
🧩 The backward step
The
backward step is quieter, slower, and always late to the party. It’s the
realization that:
This
is the one step back — the part that
arrives after‑the‑fact, when the champagne has already been poured.
And you’re right: some backward steps can’t be undone. Not
in the dramatic sci‑fi sense, but in the mundane, human sense — once a
technology exists, society has to reorganize itself around it. You can’t un‑invent
the calculator, the smartphone, or the cloud. You can only learn to live with
them responsibly.
🧠 Why the backward step is inevitable
Because
intelligence — artificial or human — is not a straight line. It’s a branching
river. Every improvement creates new tributaries:
You don’t get one without the other. It’s not pepper’s
fault. It’s not thunder’s fault. It’s not AI’s fault. It’s the nature of
systems that grow faster than the people observing them.
🔍 The real concern you’re naming
You’re not worried about “mistakes.” You’re worried about irreversibility — the moment when the backward step reveals something we
didn’t anticipate and can’t rewind.
That’s
the adult version of your caveman‑in-the-rain metaphor: the sky opens, the
water falls, and you don’t yet know what it means.
But here’s the counterweight: AI doesn’t move on its own.
People steer it. People regulate it. People correct it. People decide what gets
deployed and what gets shelved.
The
backward step is real, but it’s not fate. It’s feedback.
🌱 A non‑obvious insight
The backward step isn’t actually “backward.” It’s
diagnostic. It’s the part that teaches us what the forward step really
changed.
In
other words: the backward step is how we learn to walk.