I really have you going, don't I? Well, bemusement may be a small consolation for beggars, but what I was straining to remember in Stardust is why I would not offer Jayne Anne any further appreciative missive, or need the mentorship somewhat glazed over by her meritorious caste. She and I appear together in Oxford Magazine, some years ago now. She is transcribed addressing the freshman class, in a rhetorical tropism with angels, why I don't know. Her address opens the issue. My byline closes the issue because the graduate department telephoned me, appreciated my acid pouring forth against the Iraq war, shredding American materialism, and to the extent that this creates a dialogue with a financially secure feminine has been from the south, and a feminine has been who was a has been arriving for departure since she started, it is enough. Perhaps she is a catty embrace your inner bitch type, or has a fragility I cannot hear in my ringing ears. I no longer have praise to offer, nor the power to be moved by her output, nor anyone with which to share. I told myself to stop engaging with my aunt Marie, but I am worried she is going to die, and so returned her call yesterday; the sheer inanity of provincialism never ceases to amaze me. This is why I want to go home to Rome, I ask myself, to listen to histrionic crows screeching in sound and fury?
I cannot live with her again. I can't stay here. Adoption along Rittenhouse Square seems unlikely, and all I wanted to do was watch a movie.
As to the letter I mailed to Ms. Phillips, all I remember is an exuberant gush of the sort I have received from bush babies-- the strange psychology of fandom which may not have reached her, as I sent it in care of a publisher. The only thing I remember about experiencing Black Tickets was the edginess of the authorial voice had its appeal.
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