You aren't even angry with me anymore, Stefan, so let me up." He didn't budge. "It would be a misconception on your part, little Tanya, if you are thinking I have to be angry to make love to you." His head bent, his lips grazing her cheek all the way to her ear. With his warm breath sending tingles all over her, he continued in a whisper, "I wanted you last night, today a dozen times, right now more than ever. Tell me to love you, Tanya. Demand it of me!
The floor of ice cream parlor bothered me. It was black-and-white checkboard tile, bigger than supermarket checkboard. If I looked only at a white square, I would be all right, but it was hard to ignore the black squares that surrounded the white ones. The contrast got under my skin. The floor meant yes, no, this, that, up, down, day, night -all the indecisions and opposites that were bad enough in life without having them spelled out for you on the floor.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
At first, when an idea, a poem, or the desire to write takes hold of you, work is a pleasure, a delight, and your enthusiasm knows no bounds. But later on you work with difficulty, doggedly, desperately. For once you have committed yourself to a particular work, inspiration changes its form and becomes an obsession, like a love-affair… which haunts you night and day! Once at grips with a work, we must master it completely before we can recover our idleness.
If you listen, you can hear it. The city, it sings. If you stand quietly, at the foot of a garden, in the middle of the street, on the roof of a house. It's clearest at night, when the sound cuts more sharply across the surface of things, when the song reaches out to a place inside you. It's a wordless song, for the most, but it's a song all the same, and nobody hearing it could doubt what it sings. And the song sings the loudest when you pick out each note.
Like a blazing comet, I've traversed infinite nights, interstellar spaces of the imagination, voluptuousness and fear. I've been a man, a woman, an old person, a little girl, I've been the crowds on the grand boulevards of the capital cities of the West, I've been the serene Buddha of the East, whose calm and wisdom we envy. I've known honor and dishonor, enthusiasm and exhaustion. ...I've been the sun and the moon, and everything because life is not enough.
Crazy isn´t always what they say it is. It´s not always the old woman wearing sneakers and a skirt and a scarf, wandering around with a shopping cart, hollering at no one, nothing, tumbling through years in her head. No. Sometimes it is a girl wearing boots and jeans and a sweater, arms crossed in front of her, shivering, wandering through the streets at night, all night, murmuring to no one, nothing, tumbling through the strange unreal dimensions in her head.
What we're going for, in those humorous moments, is the absurdity of it all. The craziness of the night manager offering them an umbrella in the height of what is a horrible disaster was like, "What?!" That's Andy Greenfield, and he nailed the audition. He's the sweetest guy in the world, as is often the case with those guys, but on camera, he's so creepy that a lot of us kept saying, "You know, Andy, don't look at us like that anymore, okay? You're scaring us."