That was in Crescent City, California, up near the Oregon border. I left soon after. But today I was thinking of that place, of Crescent City, and of how I was trying out a new life there with my wife, and how, in the barber's chair that morning, I had made up my mind to go. I was thinking today about the calm I felt when I closed my eyes and let the barber's fingers move through my hair, the sweetness of those fingers, the hair already starting to grow.

All this, all of this love we're talking about, it would just be a memory. Maybe not even a memory. Am I wrong? Am I way off base? Because I want you to set me straight if you think I'm wrong. I want to know. I mean, I don't know anything, and I'm the first one to admit it.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

My heart is broken,” she goes. “It’s turned to a piece of stone. I’m no good. That’s what’s as bad as anything, that I’m no good anymore.

Remember Haydn's 104 symphonies. Not all of them were great. But there were 104 of them.

Happiness. It comes on unexpectedly. And goes beyond, really, any early morning talk about it.

Anyone can express himself or herself, but what writers and poets want to do in their work, more than simply express themselves, is communicate.