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While I've had a great distaste for what's usually called song in modern poetry or for what's usually called music, I really don't think of speech as so far from song.
While I don't script and I don't use other performers, I think my taste for underlying precision gives me something in common with Allan and George Brecht.
When you grow up in a family of languages, you develop a kind of casual fluency, so that languages, though differently colored, all seem transparent to experience.
When my mother left her second husband, she wrote her autobiography and presented it to him for his approval.
When I got to the reading all the work, I was reduced to being an actor in an experimental play that I'd already written. And I didn't want to be an actor.
There is probably no oral society that fails to mark the spatial distinction of left and right, peculiar as this distinction may be.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
The Sophists' paradoxical talk pieces and their public debates were entertainment in 5th century Greece. And in that world, Socrates was an entertainer.
The self is an oral society in which the present is constantly running a dialogue with the past and the future inside of one skin.
The ancient Greek oral poets all had this anxiety about the deficiencies of their memories and always began poems by praying to the Muse to help them remember.
Stories are different every time you tell them - they allow so many possible narratives.
My way of thinking is very particular and concrete. It doesn't follow a continuous path.
My rejection of the idea of entertainment in its current form is based on the audience that comes with it.
High School Senior
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