Blockhead

Relevance was not his strong suit. Assonance was a mildly strong point. And dissonance was his power alley. So he detuned his lyre and randomly plucked strings. He tuned his dulcimer to F sharp and struck it with claw hammers which were more appropriate for sheet rock installation. He retrieved his banjo from a dusty corner in the basement and pulled on the strings hard enough to feel them loosen. He opened a can of stale tennis balls and threw them at the banjo head and strings. He then found his ukulele in the closet and tore out the E and C strings and went mad strumming at the speed of Johnny Ramone on the G and A strings. He even shouted, “gabba, gabba, hey” once for nostalgia sake. In the office he took his electric guitar off its stand, plugged it in, and maximized the fuzz box and with drumsticks he did a ratamacue on the fretboard until there was a maelstrom of skronk filling the room. After a minute of this, his heart racing and the incipient pangs of a migraine squeezing the sides of his neocortex, he raised the guitar over his head and smashed his acoustic guitar to splinters in its stand — and then started on the walls. In this manner his 3/2 with 2 car became a massive heap of refuse. He was proud to take out his home before the weather got the best of him. “Hurricane that! Fire that! Flood that! Tornado that! Glacier melt that! Sea level rise that! Earthquake that! Virus that! Gas explosion that! Take that! I’m in control, Mofo!

“He said the shadows of missiles growing larger on the sidewalk looked like god playing an air piano above us.”

— Ocean Vuong / “Immigrant Haibun”