During the course of a career that began in the late 1940s, Lenny Bruce challenged the sanctity of organized religion and other societal and political conventions he widened the boundaries of free speech. Critic Ralph Gleason said, So many taboos have been lifted and so many comics have rushed through the doors Lenny opened. He utterly changed the world of comedy."Although Bruce died when he was only forty, his influence on the worlds of comedy, jazz, and satire are incalculable. How to Talk Dirty and Influence People remains a brilliant existential account of his life and the forces that made him the most important and controversial entertainer in history.

"Essays of Multiple Sorts Two " involves an attempt to improve older texts by a process of editing. The individual pieces are decidedly outside of what generally might be considered verse formats. Some of the offerings might seem wonderfully brief, whereas at least several might seem decidedly toward verbose. Though apparently likely to fail rather badly, the author tried to accomplish some valid orchestrations of English.

"SMUG SENRYU 3 " -- a collection of 240 syllabic haikulike 'itemettes' -- is intended to be a quite jokey and fun continuation of the same author's previous "SMUG SENRYU 2. " "The essential smugness" may be seen in how the author of this relatively new aggregation strove to cling absolutely to rigorous aspects of **5-7-5** in terms of counting the included syllables; also, each of the individual brief items might seem to insist on being only one basic English sentence. That no wish or attempt ever existed to honor some of Basho's supposedly absolute haiku approaches may seem at least hugely to validate the modern and perhaps generic title aspect "senryu"?

"SMUG SENRYU 2" - a collection of 240 syllabic haikulike 'itemettes' - is intended to be a quite jokey and fun continuation of the same author's previous "SMUG SENRYU." "The essential smugness" may be seen in how the author of this relatively new aggregation strove to cling absolutely to rigorous aspects of **5-7-5** in terms of counting the included syllables; also, each of the individual brief items might seem to insist on being only one basic English sentence. That no wish or attempt ever existed to honor some of Basho's supposedly absolute haiku approaches may seem at least hugely to validate the modern and perhaps generic title aspect "senryu"?

Double Baloney ~~TWO~~ (a sort of sequel of 240 brief and quite standardly rhymed items to the same author's recent **Double Baloney**) has a noticeably divergent formulaic aspect. At the top of every textual page of Double Baloney ~~TWO~~ should be a limerick that perhaps none too galumphingly forms an entire sweeping sentence; at the bottom of each textual page should be an I LIKE sort of couplet the book's author awhile back invented and now very much enjoys composing. Each limerick and every concomitant couplet might seem specially linked in that the title of each limerick is included in the title and the opening line of its accompanying I LIKE couplet. The author's entire aspiration had much to do with grammatical excellence as possibly helping produce strong semblances of wit.

120 "STANDARD" LIMERICKS is a sort of sequel to another book by the same author. An absolute wish could be that this compilation might offer decided stylistic improvements over its predecessor. Each included limerick consists of a couple of carefully measured sentences. Ideally those should seem about as contrapuntally interrelatable as the octave and sestet in very classical sonnet writing. Any such possibility depends on subjective aspects? Anyhow: an effort was made to produce some fun little texts.

I LIKE YOUR SHIRT (**Etc.**) is a compilation of 260 samples of highly rhymed iambic-pentameter versifications -- quatrains, threesomes, and couplets written so that each item might seem to be "one sweeping sentence." The roller-coaster-like strangeness of the entire collection may be starkly implied by its paradigmatic title, which promises a kind of barrage in terms of essential formulaics. A very definite attempt was made to push the individual pieces toward much grammatical correctness, so the ultimate effects might seem nearly lapidary even if never absolutely sleek or slick. Much worthwhile entertainment may be had in terms of noticing how at least some of the attempted English, despite multiple egregious enjambment, is handled and rehandled.

"SMUG SENRYU," a collection of 240 syllabic haikulike 'itemettes, ' is intended to be very jokey, very fun. The essential smugness may be seen in how the author of the aggregation strove to cling absolutely to rigorous aspects of **5-7-5** in terms of counting the included syllables; also, each of the individual brief items might seem to insist on being only one basic English sentence. That no wish or attempt ever existed to honor some of Basho's supposed haiku approaches may at least hugely justify the modern and perhaps generic title "senryu"?

"222 FREE-VERSE **Bits**" only slightly may fail to be absolutely in any and every generally perceived as 'normal' tradition of modern Free Verse. The individual offerings are, on a sort of average, quite, quite brief. Rhyme definitely 'intrudes' sometimes, but Meter really and truly seems highly toward absolutely ruled out.

[[Some 'sample Matter' could be the following:

"AMUSEMENTS"
Favorite activities must
include a trip to the sea.
Other fun things embrace
jaunts to the movies.
Several of my friends
quaver like popes. When
the ocean is near, we
share the cardinal sin,
a bath.

"PINK"
From any angle the sky
may be seen as as roseate
as the approach of spring.
Under the hanging basket
I've sat and twiddled my thumbs.
Those have remained pink-
or at least as softly like
disorganized courtesy
as some tweeters may be.]]

William Shakespeare's TWELFTH NIGHT [Re-done] is a very diligent attempt to put into 'Modern Dress' Shakespeare's original play. The process was arduous, and it involved trying to retain Shakespearean form at least hugely. [One salient (and silly?) deviation from basic faithfulness could be the apparently capricious altering of 'the Elephant' to 'Camel's Inn.'] A quite pervasive idea in terms of all practical considerations was something very much like the careful restoration of an old photograph or an old painting. After all, Shakespeare lived near London over 400 years ago, and his language decidedly is not our language. The passages in Verse were mostly not very altered in terms of sheer length, whereas for possible clarity's sake the ~Re-done~ Nonverse aspect often tends to be more fully wordy than was true in Shakespeare's own rendition.

"ESSAYS OF MULTIPLE SORTS" is a not entirely forgivable foray into bits and pieces of serious horsing-around on some very verbal kinds of levels. The main possible defect or deficiency, stylistically, could be in terms of some somewhat quirky uses of, as well as some very "special" nonuses of, commas.

Aggregately, the aggregated matter might seem (if not instructive) marvelously fruity and fruitful-or such. [[The opening offered item is perhaps quotidian and bizarre dialogue
(({X: Your shoes resemble mine.
Y: Mine are like yours.
Z: Mine are close kin to any.
A: Why are we awaiting a decidedly large doom?
B: Since when were we doing that?
X: Footwear is nothing.
Y: Indeed!})),
whereas the final item really might seem to be sincerely praising a very recent Rock Star.]]

Why is it that the same economic forces that produce good things for us like penicillin and housing are just as effective at bringing us things like pornography and heroin? How can the same systems of production generate such a wide array of good and bad outcomes? Markets are morally neutral. But people are not. Markets recognize no moral difference between good and evil. Markets don't inherently recognize any values other than those brought by men and women to the marketplace each and every day. At the core of the market system is a concept of value that says things are worth what I, the individual, say they are worth. We can have a deep respect for the power of markets to efficiently and effectively produce goods and services that increase society's standard of living. But should we uncritically embrace a system that has as its most foundational principle, a concept of value that is so intensely humanistic, egocentric and relativistic? There is a way forward. While it is true that markets have no values, they are wonderful mirrors for reflecting the values that people bring to the marketplace each and every day. If people bring the right values, then markets will produce the right outcomes. People from all walks of life have a shared vision for the economic world in which they want to live. We do know what is right. The task before us is to take what we know and apply these practical principles in daily economic life.

Dobbs presents an easily understood road map to success.

"250 Recent (And Overly Decent?) Limericks" is an evidently protracted attempt. The attempt is toward something like formal excellence. The form-in-question is (let's say) valid English, whereas the limerick form remains merely adventitious. Here beneath are a couple of sample limericks-and don't they manage to sweep along somewhat ridiculously? HELLO Hello and good-bye, little world of seeming to stay boyed and girled in manners and fashions whose finite new passions invite each ripe dream to seem swirled. GUITARS Guitars were restrumming themselves while waiting for happier shelves than visit the deadly new forms of a medley created by sleigh-bells and elves. A truly sincere and very profound hope might be that the entire collection could be savorable as individuations and as an aggregate.

140 SHORTIES III might seem to be positing, over and over, the possibility of magnificence in a relatively trivial and silly private format. That format not only includes relative brevities. It also includes clumps of titles that rhyme with each other and includes a rather special back-&-forth way of moving from one versification to the next. The entire group of 140 pieces ultimately must be more of a verbal success than that same group ever could be any fount of real news or of anything like real 'info'. The following couple of examples might seem about averagely illustrative: LIFT Lift us above hate and love. We remain quiet regarding life's diet of infinite passions in endless fashions. Tending to sense no recompense worth much while, I hereby style toward neutral smile. DRIFT Drift upon drift of new-fallen snow has given us dreams. A brave recalling would be of scenes seemingly lost. Those scenes would shine beacons. Every shining might seem almost informative.

"140 Shorties II [More Verse Bits]" may be something of an added insistence, or infliction, in the world. The collection's essential motif, which is of a quasi-form that includes evidently interlocking aspects in terms of titles that often blatantly rhyme with each other, might seem hopelessly ingrown and juvenile. The ultimate effect, despite any apparent expressed and re-expressed sadness or misery, is likely to be a very playful back-and-forth sort of thing.

The individual versifications, which sometimes internally rhyme and sometimes don't rhyme, and which seldom evince anything very much like standard meter, are brief indeed-no longer, usually, than about 35 words. Here are a couple of samples.

WANDER
Wander about,
and imagine a doubt
evidently ready
to turn us unsteady.
At about-say-dawn
forest and lawn
present a new dew
akin to you.
Varied surmises
yield new surprises. SQUANDER
Squander all money
provided by concerns
bigger than small.
Certain sums of
potency and power
are, likely, nothings
that nonetheless
may shimmer hugely.
To flip or slip
currency remains
very sporting.

120 'Schoolboyish Petrarchan Sonnets is a collection composed in a rather basic manner that essentially consisted of starting with a first word and then 'merely running' with that same word. The aforementioned schoolboyish aspect of the entire collection should not at all detract from a sense that a sonnet can be very narrow and also highly ornate. The various individual examples may seem to veer here, there, and practically everywhere in terms of possible 'meanings'; meanwhile, each sonnet may be in strict keeping or almost strict keeping with the apparently preferred formulaics of John Keats and of the sprung-rhythm 'master' Gerard Manley Hopkins. Some Forests: some forests must be rich and lovely parts of earthly wishes for a wondrous day whose every moment soon might seem to say kind words that speak of splendor that restarts. Implicit in a wooded world are charts on which might seem to thrive a fine array of plants and animals that surely pay obeisances eclipsing human arts. Endangered though all forests now must seem, a great resilience rules what Nature is till wondrousness will not go up in steam. which a million shadows dart and whiz.

"140 Shorties" has a way of bobbing and weaving along, from item to item. Each versification is truly brief, relatively speaking -- no longer, usually, than about 35 words. A special little approach [or 'recipe'] was used in terms of the actual composition of the entire aggregation, so, for one thing, an evident rhyming between some titles might very readily be seen to exist.

Maybe about half of the included 140 pieces are rhymed and about half unrhymed. Aspects of rhythm may be detectable, but blatant meter generally seems unlikely. Here are a couple of perhaps representative samples:

DOGS
Dogs daily seem
to have managed.
From the earliest
of life's moments
a dog's howl
emanates fiercely.
In the lust
and luxury
ruling the planet
few canine barks
might be unperemptory.

HOGS
Hogs that were called
became appalled.
The human condition
implied sedition.
To be a pig
stayed rather big,
but snout on snout
wanted out.
A true main sorrow
was mere tomorrow.