“and it goes, the music just goes, without faltering, without hesitation, not depleted through repetition, but enriched; and as it goes- without faltering, without hesitation- the rapid-rushing piece instantly becomes the soundtrack to what I am looking at, regardless of what it may be: the varied tilts of oldsters' hats, wind-gusts corduroying the park's grass, the sparkling of pram wheels, children stepping onto the water fountain's access ledge and hunchbacking behind their button-pushing hand and jutting lips;”

“...And all the while, accompanying my every step, The Photographer is sounding in my head, purling incessantly through my clamped-on Walkman; it's a good piece, Glass's homage to Muybridge, minimalism used to maximal effect: with its repeating rhythms, endlessly rechurning, the music resembles a wave that doesn't move, a standing wave; that's what you listen to, the change and unchange of the wave, not any emergent melody: listening not above, but within;”

“...but now, though, because I have still not gotten there, I feel as if distance- as if distance itself-has developed a density, a viscosity, and that I am pushing against it, that I am fighting distance's density; so I press the pedal, and the car surges, and I attempt to push to the terminus of distance, and when this does not happen and I am still not there I feel as if the tenacity of time will smother me- that I will be smothered by the atrocity of distance, by the painful failure of simultaneity; and I struggle to keep the gas pedal within civilized limits, and I go astride cars and around cars, and I am doused in the unthought thought: Please let me get to him quickly;”

“...meanwhile, throughout this orchestrated space, harmonious hundreds of people were milling, window shopping, pushing strollers, and holding soda cans in round keep-' em-cool sleeves, while their abundant children, in large sneakers, straggled along or spir­ited about -and a piped-in rendition of Let It Be, performed by a high-cholesterol string ensemble, made the whole thing look like affectless, Nijinskian choreography...”

“and I attempted, above all, to get at the truth, not the masquerade that declares itself as genuineness when, habitually, the truth is invoked, but a wholesale leveling of the artifices of personality, a selfless plunge into...into what I had thought must remain forever hidden, to the substance of what I had always kept in shadow ... to that point where self becomes sorrow ...”

“...but what is vibrato if not a breaking down of the rigid divisions between pitches, a temporary ending of our sundered musical segmentation; we evoke the deepest and richest of our feelings by bending tones between the line spectrum of the Western scale, by ending its divisiveness; we locate what is most human in between, where we are no longer quantized, constrained...”

“...but what I am not interested in, Ms. Clipboard- or Mr. Canker or Mrs. Murmur or Call-me-Carol, all of you- is your questions; even your pointing and tipping Enoch pencils have six sides, my dear definers: pay heed whereon you pinch!; I am interested, almost exclusively, in being interested, and your reductivist probings are only intended to cordon off wings of my mansion;”