Inhuman Swill | Blog | William Shunn
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Why is my blog called Inhuman Swill? Because you can unscramble the pieces to make William Shunn.

Share the wealth

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Homeless man feeding
his McDonald's French fries to
pigeons. Share the wealth.

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Just resting

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Dead squirrel lies prone,
Chin resting on its two paws.
Looks like it's sleeping.

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4 across

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senior citizens
holding hands like preschoolers
blocking the sidewalk

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Memory Lane

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Their former stoop
She strains at the leash,
Trying to turn the corner.
"Not that way," I say.

But Ella insists,
So I give in and follow.
Not that big a deal.

This short, narrow lane,
It's a valid path back home,
Not such a detour.

Along the sidewalk
We rush, my arm stretched out straight,
Not pausing to sniff.

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The trade-off

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Maggie Thatcher's dead,
but so is Roger Ebert.
Always a trade-off.

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Signs of spring

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Signs of spring by shunn, on Flickr
cigar aroma
wafting in from the golf course
signals that it's spring

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book_of_mormon_poster.jpg
It used to be that when people would find out I'm a former Mormon, they'd ask me whether or not I watch Big Love and how closely it matches my experience of growing up in Utah. (Answers: "Yes" and "Not much.") Over the past year, though, that has changed. Now they ask whether or not I've seen The Book of Mormon.

The answer to that is yes. In fact, as soon as the Broadway production was announced, Laura and I started making plans to visit New York and see it. With my background, how could we not? We put together a group of friends that included my agent and got tickets for April 9th, about two weeks after the show's official opening. I bought our tickets early enough that it wasn't hard to get seats for a group of eight on our preferred date. But by the time we actually saw it, the hype had revved up to such a wild extent that people were asking us how on earth we'd managed to score tickets.

The Book of Mormon—from South Park creators Trey Parker and Matt Stone and Avenue Q co-creator Robert Lopez—was the most celebrated new musical of the 2011 Broadway season, and it's easy to see why. It has everything an audience in search of some dangerous New York City titillation could ask for—dirty words, blasphemy, violence, Mormons, sexual innuendo, frequently all crammed together into catchy production numbers—all consumable from the relative safety of a plush theater seat. It's been a giant hit with crowds and critics alike, landing nine Tony Awards (including Best Musical), five Drama Desk Awards (including Outstanding Musical), and who knows how many best-stuff-of-the-year lists. It kicks off a national tour this August, and a Chicago production will take up residence in the Bank of America Theatre this December. People are falling all over themselves to tell you how good it is.

Is it really that good? I don't think so. Did I enjoy it? Yes, to an extent. Was it funny? Yes, to an extent. Was it anything like my experience as a missionary? Yes—but to a very small, almost irrelevant extent.

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A higher attraction

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If we were zombies
I promise you that I would
love you for your brain

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Golfers in the rain
with travel mugs of coffee,
like this is their job.

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Raaarrrr

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I come to you, love,
like a zombie in your thrall,
hungry for your brains.

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