POETIC LICENSES

It's April of 1965 and I was not yet 21......had just entered a pre-med Program at Vanderbilt University......thinking I would become either an experimental psychologist or a psychiatrist.....eventually.....Having spent the previous 2 summers working as a Spam Card Data Entry 'Person' for The Army Ballistics Administration, then...the next summer....as a courier for Nasa's Aero-Astrophysics Laboratory.....I had been 'primed' for a 'career' either as a Technical Writer or "Human Factors' engineer......But spent most of my 'free' time writing and drawing......even some 'mechanical' drawing.....but was hardly a 'Leonardo'.....The Cast of Characters.....aging Agrarian poets and novelists began to reward me for my writing, which led me farther and further from numbers, statistics and Science as I leaned closer and closer to words and pictures....without graphs, equations or formulas.......'safe' places.....into the ...

the underside of leaves speak in molecules of pure air carrying fragrances of nearby worlds. my widespread nostrils tip down to hold the precious scents, transformed, behind these tunnels to an ancient brain, to thoughts and visions held together with silken threads of dreaming... a great fish, from far within my brain, leaps with clouds of breath, to bring old life to being; before my seeing eyes, the clouds of sweetest smoke forms the firmament. Imagination is contained and lost.

Quad is a minimalist television play by Samuel Beckett, first broadcast on 8 October 1981, in which four anonymous, robed figures pace the edges and diagonals of a square in synchronized, geometrically precise patterns, their movements illuminated by shifting colored lights and underscored by percussive sounds, creating a wordless exploration of repetition and absence. Written in English but initially produced in German as Quadrat I + II for Süddeutscher Rundfunk in Stuttgart and directed by Beckett himself, the play features performers of similar build and indeterminate sex, dressed in gowns matching their assigned colors—white, yellow, blue, and red—with cowls concealing their faces to emphasize depersonalization. The structure unfolds in four series, each beginning with a solo traversal and building to combinations of duos, trios, and a quartet, covering all possible permutations while avoiding the square's dangerous center point, with the entire piece lasting approximatel...