A Verbal Fig Leaf · Track 32 · middle
Cans
Cans (1940s) — Metal containers. Industrial. Nobody's trying anymore. VOLUME: IV. THE LOCKER ROOM, 1900–1999. THE DODGE THIS ERA: The dodge stops being clever. Nobody is hiding from God or the parlour now — they're avoiding MIXED COMPANY, and the wit drains out. These are funny the way a nudge is funny. That's the point: the invention is going, and this volume should feel a bit dumber than the last on purpose. Sing the AVOIDANCE, never the anatomy.
No audio yet — generation pending.
Lyrics
The drop-forge hammers drown out all the grace You grab the nearest object in the place I haven't got a sonnet in my head I watch the steel conveyor belt instead She's standing by the pallet, clipboard in her hand Line four, nineteen forty-two, shifting the demand I need a way to tell the boys exactly what I see Without a single word that could offend the company So we call them cans now Keep it to the tin, keep it on the line No more silver apples, no more winding vine Just two standard units, stamped and painted blue When the room is crowded, industrial will do You give your pal a nudge, you don't even blink It's the heaviest word you didn't have to think We rationed out the sugar and the brass And let the older, cleverer phrases pass I see her punch her ticket at the gate I need a sturdy noun to hold the weight The mind just stalls and grabs a hollow noun Before the brain can even weigh it down She's pouring out the coffee, she's standing right right there So we talk about the factory, to spare the morning air And we call them cans now Keep it to the tin, keep it on the line No more silver apples, no more winding vine Just two standard units, stamped and painted blue When the room is crowded, industrial will do You give your pal a nudge, you don't even blink It's the heaviest word you didn't have to think Centuries of lace and velvet trim Reduced to what we're packing rations in It isn't that we're braver than before We're just a little lazier on the floor We threw away the orchard for the shape A mass-produced container for escape Just stacking the tin Row after row Nothing to blush at Nothing to know The whistle blows, she turns around and smiles At a thousand identical miles