GAMSAT Section I – Fictional Texts

Laugh, Kookaburra by David Sedaris

I hate to admit it, but my dad was right about the countryside. Hugh and I didn’t see much of it, but we wouldn’t have seen anything were it not for a woman named Pat, who was born in Melbourne and has lived there for most of her life. We’d met her a few years earlier, in Paris, where she’d come to spend a mid-July vacation. Over drinks in our living room, her face dewed with sweat, she taught us the term “shout,” as in “I’m shouting lunch.” This means that you’re treating, and that you don’t want any lip about it. “You can also say, ‘It’s my shout,’ or, ‘I’ll shout the next round,’ ” she told us.

We kept in touch after her visit, and when my work was done, and I was given a day and a half to spend as I liked, Pat offered herself as a guide. On that first afternoon, she showed us around Melbourne, and shouted coffee. The following morning, she picked us up at our hotel, and drove us into what she called “the bush.” I expected a wasteland of dust and human bones, but it was nothing like that. When Australians say “the bush,” they mean the woods. The forest.

First, though, we had to get out of Melbourne, and drive beyond the seemingly endless suburbs. It was August, the dead of winter, and so we had the windows rolled up. The homes we passed were made of wood, many with high fences around the back yards. They didn’t look exactly like American houses, but I couldn’t quite identify the difference. Was it the roofs? I wondered. The siding? Pat was driving, and as we passed the turnoff for a shopping center she invited us to picture a four-burner stove.

“Gas or electric?” Hugh asked, and she said that it didn’t matter.

This was not a real stove but a symbolic one, used to prove a point at a management seminar she’d once attended. “One burner represents your family, one is your friends, the third is your health, and the fourth is your work.” The gist, she said, was that in order to be successful you have to cut off one of your burners. And in order to be really successful you have to cut off two.

Laugh, Kookaburra by David Sedaris

I hate to admit it, but my dad was right about the countryside. Hugh and I didn’t see much of it, but we wouldn’t have seen anything were it not for a woman named Pat, who was born in Melbourne and has lived there for most of her life. We’d met her a few years earlier, in Paris, where she’d come to spend a mid-July vacation. Over drinks in our living room, her face dewed with sweat, she taught us the term “shout,” as in “I’m shouting lunch.” This means that you’re treating, and that you don’t want any lip about it. “You can also say, ‘It’s my shout,’ or, ‘I’ll shout the next round,’ ” she told us.

We kept in touch after her visit, and when my work was done, and I was given a day and a half to spend as I liked, Pat offered herself as a guide. On that first afternoon, she showed us around Melbourne, and shouted coffee. The following morning, she picked us up at our hotel, and drove us into what she called “the bush.” I expected a wasteland of dust and human bones, but it was nothing like that. When Australians say “the bush,” they mean the woods. The forest.

First, though, we had to get out of Melbourne, and drive beyond the seemingly endless suburbs. It was August, the dead of winter, and so we had the windows rolled up. The homes we passed were made of wood, many with high fences around the back yards. They didn’t look exactly like American houses, but I couldn’t quite identify the difference. Was it the roofs? I wondered. The siding? Pat was driving, and as we passed the turnoff for a shopping center she invited us to picture a four-burner stove.

“Gas or electric?” Hugh asked, and she said that it didn’t matter.

This was not a real stove but a symbolic one, used to prove a point at a management seminar she’d once attended. “One burner represents your family, one is your friends, the third is your health, and the fourth is your work.” The gist, she said, was that in order to be successful you have to cut off one of your burners. And in order to be really successful you have to cut off two.

Laugh, Kookaburra by David Sedaris

I hate to admit it, but my dad was right about the countryside. Hugh and I didn’t see much of it, but we wouldn’t have seen anything were it not for a woman named Pat, who was born in Melbourne and has lived there for most of her life. We’d met her a few years earlier, in Paris, where she’d come to spend a mid-July vacation. Over drinks in our living room, her face dewed with sweat, she taught us the term “shout,” as in “I’m shouting lunch.” This means that you’re treating, and that you don’t want any lip about it. “You can also say, ‘It’s my shout,’ or, ‘I’ll shout the next round,’ ” she told us.

We kept in touch after her visit, and when my work was done, and I was given a day and a half to spend as I liked, Pat offered herself as a guide. On that first afternoon, she showed us around Melbourne, and shouted coffee. The following morning, she picked us up at our hotel, and drove us into what she called “the bush.” I expected a wasteland of dust and human bones, but it was nothing like that. When Australians say “the bush,” they mean the woods. The forest.

First, though, we had to get out of Melbourne, and drive beyond the seemingly endless suburbs. It was August, the dead of winter, and so we had the windows rolled up. The homes we passed were made of wood, many with high fences around the back yards. They didn’t look exactly like American houses, but I couldn’t quite identify the difference. Was it the roofs? I wondered. The siding? Pat was driving, and as we passed the turnoff for a shopping center she invited us to picture a four-burner stove.

“Gas or electric?” Hugh asked, and she said that it didn’t matter.

This was not a real stove but a symbolic one, used to prove a point at a management seminar she’d once attended. “One burner represents your family, one is your friends, the third is your health, and the fourth is your work.” The gist, she said, was that in order to be successful you have to cut off one of your burners. And in order to be really successful you have to cut off two.

Laugh, Kookaburra by David Sedaris

I hate to admit it, but my dad was right about the countryside. Hugh and I didn’t see much of it, but we wouldn’t have seen anything were it not for a woman named Pat, who was born in Melbourne and has lived there for most of her life. We’d met her a few years earlier, in Paris, where she’d come to spend a mid-July vacation. Over drinks in our living room, her face dewed with sweat, she taught us the term “shout,” as in “I’m shouting lunch.” This means that you’re treating, and that you don’t want any lip about it. “You can also say, ‘It’s my shout,’ or, ‘I’ll shout the next round,’ ” she told us.

We kept in touch after her visit, and when my work was done, and I was given a day and a half to spend as I liked, Pat offered herself as a guide. On that first afternoon, she showed us around Melbourne, and shouted coffee. The following morning, she picked us up at our hotel, and drove us into what she called “the bush.” I expected a wasteland of dust and human bones, but it was nothing like that. When Australians say “the bush,” they mean the woods. The forest.

First, though, we had to get out of Melbourne, and drive beyond the seemingly endless suburbs. It was August, the dead of winter, and so we had the windows rolled up. The homes we passed were made of wood, many with high fences around the back yards. They didn’t look exactly like American houses, but I couldn’t quite identify the difference. Was it the roofs? I wondered. The siding? Pat was driving, and as we passed the turnoff for a shopping center she invited us to picture a four-burner stove.

“Gas or electric?” Hugh asked, and she said that it didn’t matter.

This was not a real stove but a symbolic one, used to prove a point at a management seminar she’d once attended. “One burner represents your family, one is your friends, the third is your health, and the fourth is your work.” The gist, she said, was that in order to be successful you have to cut off one of your burners. And in order to be really successful you have to cut off two.

B White – Once more to the lake

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summer – always on August 1st for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of the tines and the fearful cold of the sea water and the incessant wind which blows across the afternoon and into the evening make me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts.

I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows. On the journey over to the lake I began to wonder what it would be like. I wondered how time would have marred this unique, this holy spot – the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps. I was sure that the tarred road would have found it out and I wondered in what other ways it would be desolate. It is strange how much you can remember about places like that once you allow your mind to return into the grooves which lead back.

B White – Once more to the lake

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summer – always on August 1st for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of the tines and the fearful cold of the sea water and the incessant wind which blows across the afternoon and into the evening make me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts.

I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows. On the journey over to the lake I began to wonder what it would be like. I wondered how time would have marred this unique, this holy spot – the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps. I was sure that the tarred road would have found it out and I wondered in what other ways it would be desolate. It is strange how much you can remember about places like that once you allow your mind to return into the grooves which lead back.

B White – Once more to the lake

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summer – always on August 1st for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of the tines and the fearful cold of the sea water and the incessant wind which blows across the afternoon and into the evening make me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts.

I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows. On the journey over to the lake I began to wonder what it would be like. I wondered how time would have marred this unique, this holy spot – the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps. I was sure that the tarred road would have found it out and I wondered in what other ways it would be desolate. It is strange how much you can remember about places like that once you allow your mind to return into the grooves which lead back.

E.B White – Once more to the lake

One summer, along about 1904, my father rented a camp on a lake in Maine and took us all there for the month of August. We all got ringworm from some kittens and had to rub Pond’s Extract on our arms and legs night and morning, and my father rolled over in a canoe with all his clothes on; but outside of that the vacation was a success and from then on none of us ever thought there was any place in the world like that lake in Maine. We returned summer after summer – always on August 1st for one month. I have since become a salt-water man, but sometimes in summer there are days when the restlessness of the tines and the fearful cold of the sea water and the incessant wind which blows across the afternoon and into the evening make me wish for the placidity of a lake in the woods. A few weeks ago this feeling got so strong I bought myself a couple of bass hooks and a spinner and returned to the lake where we used to go, for a week’s fishing and to revisit old haunts.

I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows. On the journey over to the lake I began to wonder what it would be like. I wondered how time would have marred this unique, this holy spot – the coves and streams, the hills that the sun set behind, the camps and the paths behind the camps. I was sure that the tarred road would have found it out and I wondered in what other ways it would be desolate. It is strange how much you can remember about places like that once you allow your mind to return into the grooves which lead back.

Great Expectations – Charles Dickens

“‘I little thought,’ said Estella, ‘that I should take leave of you in taking leave of this spot. I am very glad to do so.’

‘Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last meeting has been ever mournful and painful.’

‘But you said to me,’ returned Estella, very earnestly, ‘”God bless you, God forgive you!’”And if you could say that to me then, you will not hesitate to say that to me now–now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but–I hope–into a better shape. Be as considerate and good to me as you were, and tell me we are friends.’

‘We are friends,’ said I, rising and bending over her, as she rose from the bench.

‘And will continue friends apart,’ said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw the shadow of no parting from her.

Great Expectations – Charles Dickens

“‘I little thought,’ said Estella, ‘that I should take leave of you in taking leave of this spot. I am very glad to do so.’

‘Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last meeting has been ever mournful and painful.’

‘But you said to me,’ returned Estella, very earnestly, ‘”God bless you, God forgive you!’”And if you could say that to me then, you will not hesitate to say that to me now–now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but–I hope–into a better shape. Be as considerate and good to me as you were, and tell me we are friends.’

‘We are friends,’ said I, rising and bending over her, as she rose from the bench.

‘And will continue friends apart,’ said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw the shadow of no parting from her.

Great Expectations – Charles Dickens

“‘I little thought,’ said Estella, ‘that I should take leave of you in taking leave of this spot. I am very glad to do so.’

‘Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last meeting has been ever mournful and painful.’

‘But you said to me,’ returned Estella, very earnestly, ‘”God bless you, God forgive you!’”And if you could say that to me then, you will not hesitate to say that to me now–now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but–I hope–into a better shape. Be as considerate and good to me as you were, and tell me we are friends.’

‘We are friends,’ said I, rising and bending over her, as she rose from the bench.

‘And will continue friends apart,’ said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw the shadow of no parting from her.

Great Expectations – Charles Dickens

“‘I little thought,’ said Estella, ‘that I should take leave of you in taking leave of this spot. I am very glad to do so.’

‘Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last meeting has been ever mournful and painful.’

‘But you said to me,’ returned Estella, very earnestly, ‘”God bless you, God forgive you!’”And if you could say that to me then, you will not hesitate to say that to me now–now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but–I hope–into a better shape. Be as considerate and good to me as you were, and tell me we are friends.’

‘We are friends,’ said I, rising and bending over her, as she rose from the bench.

‘And will continue friends apart,’ said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw the shadow of no parting from her.

Haruki Murakami – Kafka On The Shore

“Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine.

And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You’ll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.” 

Haruki Murakami – Kafka On The Shore

“Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine.

And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You’ll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.” 

Haruki Murakami – Kafka On The Shore

“Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine.

And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You’ll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.” 

Haruki Murakami – Kafka On The Shore

“Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step. There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine.

And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You’ll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won’t remember how you made it through, how you managed to survive. You won’t even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won’t be the same person who walked in. That’s what this storm’s all about.” 

4.48 Psychosis by Sarah Kane

At 4.48

when depression visits

I shall hang myself

to the sound of my lovers breathing

I do not want to die

I have become so depressed by the fact of my mortality that I
have decided to commit suicide

I do not want to live

I am jealous of my sleeping lover and cover his induced
unconsciousness

When he wakes he will envy my sleepless night of thought and
speech unslurred by medication

I have resigned myself to death this year

Some will call this self-indulgence
(they are lucky not to know its truth)
Some will know the simple fact of pain

This is becoming my normality

Information about 4.48 psychosis. Sarah Kane produced this play as her suicide note to the world. The play takes the audience through a journey to understand the mental health challenges Sarah faced, with particular emphasis placed at times on the voices she heard and the negative things they said to her.

4.48 Psychosis by Sarah Kane

At 4.48

when depression visits

I shall hang myself

to the sound of my lovers breathing

I do not want to die

I have become so depressed by the fact of my mortality that I
have decided to commit suicide

I do not want to live

I am jealous of my sleeping lover and cover his induced
unconsciousness

When he wakes he will envy my sleepless night of thought and
speech unslurred by medication

I have resigned myself to death this year

Some will call this self-indulgence
(they are lucky not to know its truth)
Some will know the simple fact of pain

This is becoming my normality

Information about 4.48 psychosis. Sarah Kane produced this play as her suicide note to the world. The play takes the audience through a journey to understand the mental health challenges Sarah faced, with particular emphasis placed at times on the voices she heard and the negative things they said to her.

4.48 Psychosis by Sarah Kane

At 4.48

when depression visits

I shall hang myself

to the sound of my lovers breathing

I do not want to die

I have become so depressed by the fact of my mortality that I
have decided to commit suicide

I do not want to live

I am jealous of my sleeping lover and cover his induced
unconsciousness

When he wakes he will envy my sleepless night of thought and
speech unslurred by medication

I have resigned myself to death this year

Some will call this self-indulgence
(they are lucky not to know its truth)
Some will know the simple fact of pain

This is becoming my normality

Information about 4.48 psychosis. Sarah Kane produced this play as her suicide note to the world. The play takes the audience through a journey to understand the mental health challenges Sarah faced, with particular emphasis placed at times on the voices she heard and the negative things they said to her.

4.48 Psychosis by Sarah Kane

At 4.48

when depression visits

I shall hang myself

to the sound of my lovers breathing

I do not want to die

I have become so depressed by the fact of my mortality that I
have decided to commit suicide

I do not want to live

I am jealous of my sleeping lover and cover his induced
unconsciousness

When he wakes he will envy my sleepless night of thought and
speech unslurred by medication

I have resigned myself to death this year

Some will call this self-indulgence
(they are lucky not to know its truth)
Some will know the simple fact of pain

This is becoming my normality

Information about 4.48 psychosis. Sarah Kane produced this play as her suicide note to the world. The play takes the audience through a journey to understand the mental health challenges Sarah faced, with particular emphasis placed at times on the voices she heard and the negative things they said to her.

A midsummer’s Night Dream by William Shakespeare Act 2 scene 1 Puck’s monologue

Thou speak’st aright; /
I am that merry wanderer of the night. /

I jest to Oberon and make him smile
When I a fat and bean-fed horse beguile, /
Neighing in likeness of a filly foal: /
And sometime lurk I in a gossip’s bowl, /
In very likeness of a roasted crab, /
And when she drinks, against her lips I bob
And on her wither’d dewlap pour the ale. /

The wisest aunt, telling the saddest tale, /
Sometime for three-foot stool mistaketh me; /
Then slip I from her bum, down topples she, /
And ‘tailor’ cries, and falls into a cough; /
And then the whole quire hold their hips and laugh, /
And waxen in their mirth and neeze and swear
A merrier hour was never wasted there. /

But, room, fairy! here comes Oberon. /

A midsummer’s Night Dream by William Shakespeare Act 2 scene 1 Puck’s monologue

Thou speak’st aright; /
I am that merry wanderer of the night. /

I jest to Oberon and make him smile
When I a fat and bean-fed horse beguile, /
Neighing in likeness of a filly foal: /
And sometime lurk I in a gossip’s bowl, /
In very likeness of a roasted crab, /
And when she drinks, against her lips I bob
And on her wither’d dewlap pour the ale. /

The wisest aunt, telling the saddest tale, /
Sometime for three-foot stool mistaketh me; /
Then slip I from her bum, down topples she, /
And ‘tailor’ cries, and falls into a cough; /
And then the whole quire hold their hips and laugh, /
And waxen in their mirth and neeze and swear
A merrier hour was never wasted there. /

But, room, fairy! here comes Oberon. /

A midsummer’s Night Dream by William Shakespeare Act 2 scene 1 Puck’s monologue

Thou speak’st aright; /
I am that merry wanderer of the night. /

I jest to Oberon and make him smile
When I a fat and bean-fed horse beguile, /
Neighing in likeness of a filly foal: /
And sometime lurk I in a gossip’s bowl, /
In very likeness of a roasted crab, /
And when she drinks, against her lips I bob
And on her wither’d dewlap pour the ale. /

The wisest aunt, telling the saddest tale, /
Sometime for three-foot stool mistaketh me; /
Then slip I from her bum, down topples she, /
And ‘tailor’ cries, and falls into a cough; /
And then the whole quire hold their hips and laugh, /
And waxen in their mirth and neeze and swear
A merrier hour was never wasted there. /

But, room, fairy! here comes Oberon. /

Romeo and Juliet by Willian Shakespeare Act 1 Prologue

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Romeo and Juliet by Willian Shakespeare Act 1 Prologue

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Romeo and Juliet by Willian Shakespeare Act 1 Prologue

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Romeo and Juliet by Willian Shakespeare Act 1 Prologue

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross’d lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents’ strife.
The fearful passage of their death-mark’d love,
And the continuance of their parents’ rage,
Which, but their children’s end, nought could remove,
Is now the two hours’ traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Edgar Allen Poe – Masque of the Red Death

The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal–the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”

Edgar Allen Poe – Masque of the Red Death

The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal–the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”

Edgar Allen Poe – Masque of the Red Death

The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal–the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”

Edgar Allen Poe – Masque of the Red Death

The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal–the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”

Edgar Allen Poe – Masque of the Red Death

The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal–the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.

But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”

Life Above Sea Level

patchogue 1968

“Sink or swim,” my mother’s brother says as he drops me from the side of a boat in the Great South Bay. Bobbing up, head above water, I can see the shore, see where my father sits in a folding chair, Times spread across his lap, head tipped back, eyes closed. Water fills my nose and lungs, and I am scooped out by a strong-armed uncle. Funny, they said, it worked so well with all the other kids.

Every summer my mother’s family piles into this house bought by a grandfather, great uncles, and an aunt. My mother’s family: police detectives, payroll clerks, and Brooklyn Navy Yard workers. Irish. This is a place where men come to catch blues, weekend fishermen after a perfect run. Where women wash clothes in ice-cold water, then hang them on long lines cast toward the Bay. Line-dried clothes, stiff and hard, that stink of bay water and don’t bend easily against skin.

Life Above Sea Level

patchogue 1968

“Sink or swim,” my mother’s brother says as he drops me from the side of a boat in the Great South Bay. Bobbing up, head above water, I can see the shore, see where my father sits in a folding chair, Times spread across his lap, head tipped back, eyes closed. Water fills my nose and lungs, and I am scooped out by a strong-armed uncle. Funny, they said, it worked so well with all the other kids.

Every summer my mother’s family piles into this house bought by a grandfather, great uncles, and an aunt. My mother’s family: police detectives, payroll clerks, and Brooklyn Navy Yard workers. Irish. This is a place where men come to catch blues, weekend fishermen after a perfect run. Where women wash clothes in ice-cold water, then hang them on long lines cast toward the Bay. Line-dried clothes, stiff and hard, that stink of bay water and don’t bend easily against skin.

Life Above Sea Level

patchogue 1968

“Sink or swim,” my mother’s brother says as he drops me from the side of a boat in the Great South Bay. Bobbing up, head above water, I can see the shore, see where my father sits in a folding chair, Times spread across his lap, head tipped back, eyes closed. Water fills my nose and lungs, and I am scooped out by a strong-armed uncle. Funny, they said, it worked so well with all the other kids.

Every summer my mother’s family piles into this house bought by a grandfather, great uncles, and an aunt. My mother’s family: police detectives, payroll clerks, and Brooklyn Navy Yard workers. Irish. This is a place where men come to catch blues, weekend fishermen after a perfect run. Where women wash clothes in ice-cold water, then hang them on long lines cast toward the Bay. Line-dried clothes, stiff and hard, that stink of bay water and don’t bend easily against skin.

Life Above Sea Level

patchogue 1968

“Sink or swim,” my mother’s brother says as he drops me from the side of a boat in the Great South Bay. Bobbing up, head above water, I can see the shore, see where my father sits in a folding chair, Times spread across his lap, head tipped back, eyes closed. Water fills my nose and lungs, and I am scooped out by a strong-armed uncle. Funny, they said, it worked so well with all the other kids.

Every summer my mother’s family piles into this house bought by a grandfather, great uncles, and an aunt. My mother’s family: police detectives, payroll clerks, and Brooklyn Navy Yard workers. Irish. This is a place where men come to catch blues, weekend fishermen after a perfect run. Where women wash clothes in ice-cold water, then hang them on long lines cast toward the Bay. Line-dried clothes, stiff and hard, that stink of bay water and don’t bend easily against skin.