This is the first of the segments that really stick out to me, both in the tragic acceptance of something that no one should really endure, but also in a personal sense in that the "ran out of energy" tidbit reminds me of some advice my grandmother gave me. Generally, I think she was wrong, but there in some cases it's true that "people don't change with age, just lose their energy." Still, I'm glad he both found a way to reconcile with them and that he manages to not let their continued lack of care affect him.

The next part that stood out to me is surprisingly close by this one, which is in the next paragraph when he spoke of his first experience with a broken modifier. Funnily enough, I think Brown's use of the same technique is the first time I've noticed it before. It's interesting to get a look into what sparked the inspiration for using certain methods in a professional's writing, especially for what seems to me a very unorthodox tool in his arsenal.

Lastly, I'll touch up on the Duplex, because of the three poems, not only was this one the most striking to me in its rhythm and content, but because I hadn't yet realized he created an entirely new format. The duplex feels so familiar yet so new at the same time, it feels like exactly what I'd be looking for in a poem yet only came about for the first time by Brown's hand in recent times. I honestly had no clue people were even successfully creating new poem formats nowadays, as I always envisioned story formats to have already been set in stone long ago. As Brown said, it really does sound elegant no matter what, and combined with how each subject within Duplex leads into one another so well, it easily makes it my favorite of the three poems from the Tradition we've read today,