He Might Die For Her, But Living

Even In The Tragedies, Shakespeare Always Put In Parts For The Comic Actors Because His Audience Was Mixed. He Puts In People Who Talk Like Aristocrats. He Puts In Idiots And Fools. He Puts In Certain Middle-range Characters. And When You Go To The Globe, You Realize How That All Works. The People Who Paid More Sat In Seats Around The Edge. Everybody Else Paid A Penny. They Put It Into A Tin Box - That's Why We Call It The "box Office." They Stood In The Pit, But They Were Very Close, So When Hamlet Was Doing His Soliloquy, It Was Addressed To You, The Audience - Right There.

Gardening Is Not A Rational Act.

It's A Critical Fallacy Of Our Times ... That A Writer Should 'grow,' 'change,' Or 'develop.' This Fallacy Causes Us To Expect From Children Or Radishes: 'grow,' Or There's Something Wrong With You. But Writers Are Not Radishes. If You Look At What Most Writers Actually Do, It Resembles A Theme With Variations More Than It Does The Popular Notion Of Growth.

But In The End, Back She Comes. There's No Use Resisting. She Goes To Him For Amnesia, For Oblivion. She Renders Herself Up, Is Blotted Out; Enters The Darkness Of Her Own Body, Forgets Her Name. Immolation Is What She Wants, However Briefly. To Exist Without Boundaries.

We Pulled The Seeds Out And Scattered Them On Their Flossy Parachutes, Leaving Only The Leathery Brownish Yellow Tongue, Soft As The Inside Of An Elbow.