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Crossroads and the Dominion of Four

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C. Toni Graham

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“Despite the fact that most of the market's customers were dressed in draped fabrics while she and Jack were in shorts and T-shirts, no one stared at them. There was enough variation in the shoppers and the vendors that their differences were unremarkable: skin colors from blue to coal-black to pink to bronze to metallic silver. A few shoppers were covered in fur. One woman sported beige-colored wings. She had on a necklace of bird bones that fell down to her stomach. Another had talons instead of hands. He clicked them together in rhythm with his footsteps. Calisa could have wandered through the stalls forever, filling her eyes with all the impossible people and the beautiful oddities on display.”

“Anyone Can Whistle, subtitled 'A Wild New Musical,' opened in New York on April 4, 1964, at the Majestic Theater. The reviews were generally negative, and Laurents defended himself with the rationalization that Walter Kerr of the Herald Tribune 'didn't like the show because he was a Catholic. The idea that there's no miracles drove him up the wall.' Such a self-protective imagination made Laurents more resilient than Sondheim, who was so discouraged that he talked about quitting the theater entirely. The show closed after nine performances, ultimately becoming a cult musical--meaning that if everyone who says they saw it, actually saw it, it would have run for years.”

“The diaries of opium-eaters record how, during the brief period of ecstasy, the drugged person's dreams have a temporal scope of ten, thirty, sometimes sixty years or even surpass all limits of man's ability to experience time--dreams, that is, whose imaginary time span vastly exceeds their actual duration and which are characterized by an incredible diminishment of the experience of time, with images thronging past so swiftly that, as one hashish-smoke puts it, the intoxicated user's brain seems "to have something removed, like the mainspring from a broken watch.”