The Hold Music Purgatory

Submitted September 22, 2026 to the Wergle Flomp Humor Poetry Contest 2026–2027, presented by Winning Writers. Winners will be announced August 15, 2027.

I only need to pay a single bill.
A three-minute task, I told myself.
That was forty-five minutes ago.

Now I am trapped inside a digital maze,
Interrogated by a cheerful, synthetic woman
Who claims she can understand full sentences
But cannot decipher the word "Representative."

"I’m sorry, I didn’t quite catch that," she chirps.
Her robotic politeness feels like a physical threat.

"Did you say... open a new account for a yacht?"

"No," I say, trying to remain calm.
"Representative. Agent. Human being. Someone with a pulse."

"Got it! Transferring you to... Technical Support for Commercial Blenders."

No. Wait. Stop.

But it’s too late. I’ve been cast out into the void.

The hold music starts.

It is a solo flute, recorded through a tin can in 1994,
Looping a four-second melody that slowly dissolves my sanity.

Every thirty seconds, the flute fades out.
My heart leaps! A human?

"Your call is important to us," the robot lies.

The flute returns, louder now, mocking me.

My throat is dry. My thumbs are cramping.

I decide to change my strategy.

I try the "Zero Trick."

I mash the 0 key like a telegraph operator sending an SOS.

Tap-tap-tap-tap-tap-tap-tap.

The robot pauses. She sounds offended.

"That is not a valid entry."

I mash it harder.

"Please select from the following sixteen options..."

I try a new tactic: psychological warfare.

I mimic a confused elderly man. I clear my throat.

"Operator?" I croak.

"Did you say... cancel your grandmother's insurance?"

"No! No, you metal demon, I just want to pay you money!"

I am yelling at a piece of glass in my living room.

The dog is looking at me with deep concern.

I am losing my mind, losing my day,
Debating whether I actually need credit or electricity at all.

Maybe I'll just move to the woods. No phones in the woods.

"I think you want to main menu," she says, her voice dripping with artificial victory.

"To start over, say 'Yes.' Or press star."

I don't say yes. I don't press star.

I make a low, gutteral noise, a sound born of pure defeat.

She sighs a digital sigh.

"I didn't get that. Goodbye."

A sharp click.

The dial tone hums—a flat, indifferent line.

The robot is gone.

The bill remains unpaid.

And I am left sitting in the quiet wreckage of my afternoon.

— Leslie Berg, 2026