We've Learned To See The World In

There's The Story, Then There's The Real Story, Then There's The Story Of How The Story Came To Be Told. Then There's What You Leave Out Of The Story. Which Is Part Of The Story Too.

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.

A Truth Should Exist, It Should Not Be Used Like This. If I Love You Is That A Fact Or A Weapon?

What’s With Her?” Says The Painter. “she’s Mad Because She’s A Woman,” Jon Says. This Is Something I Haven’t Heard For Years, Not Since High School. Once It Was A Shaming Thing To Say, And Crushing To Have It Said About You, By A Man. It Implied Oddness, Deformity, Sexual Malfunction. I Go To The Living Room Doorway. “i’m Not Mad Because I’m A Woman,” I Say. “i’m Mad Because You’re An Asshole.

Every Ending Is Arbitrary, Because The End Is Where You Write The End. A Period, A Dot Of Punctuation, A Point Of Stasis. A Pinprick In The Paper: You Could Put Your Eye To It And See Through, To The Other Side, To The Beginning Of Something Else. Or, As Tony Says To Her Students, Time Is Not A Solid, Like Wood, But A Fluid, Like Water Or The Wind. It Doesn't Come Neatly Cut Into Even-sized Length, Into Decades And Centuries. Nevertheless, For Our Purposes We Have To Pretend It Does. The End Of Any History Is A Lie In Which We All Agree To Conspire.