Kevin Young

I know that if they're young, you know, and it's like used to turn off without you wanting to, you know.

I remember seeing the, you know, Star Spangled Banner play and then, you know, would go to the kind of color test screen.

And then be like, and, you know, you would turn it off.

UHF.

I mean, we could go on about the pleasures of, you know, 60s, 70s television, but 70s, 80s, however you think of it.

And so the question I have then is about sound and about the ending.

So the first part is this kind of occasional rhyme, crammed whole junkyards with steel, then two lines later, whatever they touched was real.

Are you...

I think of rhyme as connecting ideas, not just sounds, right?

And how do you think through that?

These are mostly quatrains to the end.

A very – I remember Seamus talking about another student saying like he's a good stanza driver, you know, like quatrains are these kind of – it is like Ford going down the road, you know, just very, you know, steady.

How do you think through that in terms of rhyme and form?

They're like, you don't notice them almost.

Yeah, because now it's five lines at the very end.

I wonder about this look that the speaker and the cook in his white apron.

How do they – because, of course, lunch counters are a contested site.

And the civil rights movement made incursions there because they were both representative and a daily reminder of these inequities.

But also there's something intimate about eating.

If you can keep people not eating together, they can't –