On a quest to completely
disown all my preferences,
I set to work
inventing a brand new piano—
with no sharps and
flats, no black
and no
white keys, to play fantastic
modern melodies
which would neatly upset
all expectations—
and huge heroic chords
unencumbered by such
baroque constructs
as good notes
and bad ones—
but once the thing was built,
and I finally
laid my hands on it
and discharged my first
ecumenical message,
the tone just didn't strike me
as functional
at all. The good
and the bad
were still calling out to me,
like small moans
on a breeze
from someplace
far away.