I’ve started to keep a Food and Feelings Journal,
but it just ends up sounding like the lamest brand of forced narrative.
Like Chicken Soup for the Mystically Reanimated Soul,
or that recurring dream I have where I’m the host of
a low-budget, zombie-themed daytime talk show,

The cigar is chewed to nothing,
there’s earwigs on the brie,
but the dumpster’s flowin’ over
and there’s plenty here for free.

I have this need
to sometimes rhyme
my words, my phrases
give them time

Based on a conversation I overhead at work. I have a weird tendency to hear conversations and fill in my own punchlines. It’s totally normal.

Act 1

A square in Seville. On the right, a tofu factory. On the left, a guardhouse.

A group of soldiers relax in the square, waiting for the changing of the guard and commenting on the passers-by (“Sur la place, chacun passe” “That One is Definitely Don’t Ask, Don’t Tell). Micaëla appears, seeking José. Moralès invites her to wait with them. She declines, saying she will return. José arrives with the new guard, followed by a crowd of D.A.R.E tee shirt wearing youths. As the factory bell rings, the tofu girls emerge and exchange age-appropriate banter with young men in the crowd (“La cloche a sonné” “Come Hither, You Lactose-Intolerant Boys”). Carmen enters and sings on the untameable nature of love (“L’amour est un oiseau rebelle” “No Birds Were Harmed in the Singing of This Aria”). The men plead with her to choose one of them for a committed, monogamous relationship, and she throws a flower to Don José.