I consider fiction a very high-class form of lying. I enjoy and admire it enormously, but I don't think I'm very good at it.

Nothing is more memorable than a smell. One scent can be unexpected, momentary and fleeting, yet conjure up a childhood summer beside a lake in the mountains; another, a moonlit beach; a third, a family dinner of pot roast and sweet potatoes during a myrtle-mad August in a Midwestern town. Smells detonate softly in our memory like poignant land mines hidden under the weedy mass of years. Hit a tripwire of smell and memories explode all at once. A complex vision leaps out of the undergrowth.

Complexity excites the mind, and order rewards it. In the garden, one finds both, including vanishingly small orders too complex to spot, and orders so vast the mind struggles to embrace them.

On some summer days in New York City, the air hangs thickly visible, like the combined exhalations of eight million souls. Steam rising from vents underground makes you wonder if there isn't one giant sweat gland lodged beneath the city.

Smell is the mute sense, the one without words.

A poem records emotions and moods that lie beyond normal language, that can only be patched together and hinted at metaphorically.

In rare moments of deep play, we can lay aside our sense of self, shed time's continuum, ignore pain, and sit quietly in the absolute present, watching the world's ordinary miracles. No mind or heart hobbles. No analyzing or explaining. No questing for logic. No promises. No goals. No relationships. No worry. One is completely open to whatever drama may unfold.