The wind shows us how close to the edge we are.

That no one dies of migraine seems, to someone deep into an attack, an ambiguous blessing.

I never actually learned the rules of grammar, relying instead only on what sounded right.

I recall an August afternoon in Chicago in 1973 when I took my daughter, then seven, to see what Georgia O’Keeffe had done with where she had been. One of the vast O’Keeffe ‘Sky Above Clouds’ canvases floated over the back stairs in the Chicago Art Institute that day, dominating what seemed to be several stories of empty light, and my daughter looked at it once, ran to the landing, and kept on looking. "Who drew it," she whispered after a while. I told her. "I need to talk to her," she said finally.

But the fact of it was that I liked it out there, a ruin devoid of human vanities, clean of human illusions, an empty place reclaimed by the weather where a woman plays an organ to stop the wind's whining and an old man plays ball with a dog named Duke. I could tell you that I came back because I had promises to keep, but maybe it was because nobody asked me to stay.

I never had much interest in being a child. As a way of being it seemed flat, failed to engage.

When the ground starts moving, all bets are off.