(1) ONTOLOGY
That branch of metaphysics which concerns itself with the problems of the nature of existence or being.

(2) Imagine a pale blue morning sky, almost green, with clouds only at the rims. The earth rolls and the sun appears to mount, mountains erode, fruits decay, the Foraminifera adds another chamber to its shell, babies' fingernails grow as does the hair of the dead in their graves, and in egg timers the sands fall and the eggs cook on.

(3) Sarah Boyle thinks of her nose as too large, though several men have cherished it. The nose is generous and performs a well-calculated geometric curve, at the arch of which the skin is drawn very tight and a faint whiteness of bone can be seen showing through, it has much the same architectural tension and sense of mathematical calculation as the day after Thanksgiving breastbone on the carcass of a turkey; her maiden name was Sloss, mixed German, English and Irish descent; in grade school she was very bad at playing softball and, besides being chosen last for the team, was always made to play center field, no one could ever hit to center field; she loves music best of all the arts, and of music, Bach, J.S; she lives in California, though she grew up in Boston and Toledo.

(4) BREAKFAST TIME AT THE BOYLES' HOUSE ON LA FLORIDA STREET, ALAMEDA, CALIFORNIA, THE CHILDREN DEMAND SUGAR FROSTED FLAKES.
With some reluctance Sarah Boyle dishes out Sugar Frosted Flakes to her children, already hearing the decay set in upon the little white milk teeth, the bony whine of the dentist's drill. The dentist is a short, gentle man with a moustache who sometimes reminds Sarah of an Uncle who lives in Ohio. One bowl per child.

(5) If one can imagine it considered as an abstract object, by members of a totally separate culture, one can see that the cereal box might seem a beautiful thing. The solid rectangle is neatly joined and classical in proportions, on it are squandered wealths of richest colours, virgin blues, crimsons, dense ochres, precious pigments once reserved for sacred paintings and as cosmetics for the blind faces of marble gods. Giant size. Net Weight 16 ounces, 250 grams. "They're tigeriffic!" says Tony the Tiger. The box blatts promises. Energy, Nature's Own Goodness, an endless pubescence. On its back is a mask of William Shakespeare to be cut out, folded, worn by thousands of tiny Shakespeares in Kansas City, Detroit, Tucson, San Diego, Tampa. He appears at once more kindly and somewhat more vacant than we are used to seeing him. Two or more of the children lay claim to the mask, but Sarah puts off that Solomon's decision until such time as the box is empty.

(6) A notice in orange flourishes states that a Surprise Gift is to be found somewhere in the packet, nestled amongst the golden flakes. So far it has not been unearthed, and the children request more cereal than they wish to eat, great yellow heaps of it, to hurry the discovery. Even so, at the end of the meal, some layers of flakes remain in the box and the Gift must still be among them.

(7) There is even a Special Offer of a secret membership, code and magic ring; these to be obtained by sending in the box top with 50 cents.

(8) Three offers on one cereal box. To Sarah Boyle this seems to be oversell. Perhaps something is terribly wrong with the cereal and it must be sold quickly, got off the shelves before the news breaks. Perhaps it causes a special, cruel cancer in little children. As Sarah Boyle collects the bowls printed with bunnies and baseball statistics, still slopping half full of milk and wilted flakes, she imagines in her mind's eye the headlines, "Nation's Small Fry Stricken, Fate's Finger Sugar Coated, Lethal Sweetness Socks Tots."

(9) Sarah Boyle is a vivacious and intelligent young wife and mother, educated at a fine Eastern college, proud of her growing family which keeps her busy and happy around the house.

(10) BIRTHDAY
Today is the birthday of one of the children. There will be a party in the late afternoon.

(11) CLEANING UP THE HOUSE. (ONE.)
Cleaning up the kitchen. Sarah Boyle puts the bowls, plates, glasses and silverware into the sink. She scrubs at the stickiness on the yellow-marbled formica table with a blue synthetic sponge, a special blue which we shall see again. There are marks of children's hands in various sizes printed with sugar and grime on all the table's surfaces. The marks catch the light, they appear and disappear according to the position of the observing eye. The floor sweepings include a triangular half of toast spread with grape jelly, bobby pins, a green Band-Aid, flakes, a doll's eye, dust, dog's hair and a button.

(12) Until we reach the statistically likely planet and begin to converse with whatever green-faced teleporting denizens thereof—considering only this shrunk and communication-ravaged world—can we any more postulate a separate culture? Viewing the metastasis of Western Culture it seems progressively less likely. Sarah Boyle imagines a whole world which has become like California, all topographical inperfections sanded away with the sweet-smelling burr of the plastic surgeon's cosmetic polisher, a world populace dieting, leisured, similar in pink and mauve hair and rhinestone shades. A land Cunt Pink and Avocado Green, brassiered and girdled by monstrous complexities of Super Highways, a California endless and unceasing, embracing and transforming the entire globe, California, California!

(13) INSERT ONE. ON ENTROPY.
ENTROPY: A quantity introduced in the first place to facilitate the calculation, and to give clear expressions to the results of thermodynamics. Changes of entropy can be calculated only for a reversible process, and may then be defined as the ratio of the amount of heat taken up to the absolute temperature at which the heat is absorbed. Entropy changes for actual irreversible processes are calculated by postulating equivalent theoretical reversible changes. The entropy of a system is a measure of its degree of disorder. The total entropy of any isolated system can never decrease in any change; it must either increase (irreversible process) or remain constant (reversible process). The total entropy of the Universe therefore is increasing, tending towards a maximum, corresponding to complete disorder of the particles in it (assuming that it may be regarded as an isolated system.) See Heat Death of the Universe.

(14) CLEANING UP THE HOUSE. (TWO.)
Washing the baby's diapers. Sarah Boyle writes notes to herself all over the house; a mazed wild script larded with arrows, diagrams, pictures, graffiti on every available surface in a desperate/heroic attempt to index, record, bluff, invoke, order and placate. On the fluted and flowered white plastic lid of the diaper bin she has written in Blushing Pink Nitetime lipstick a phrase to ward off fumey ammoniac despair. "The nitrogen cycle is the vital round of organic and inorganic exchange on earth. The sweet breath of the Universe." On the wall by the washing machine are Yin and Yang signs, mandalas, and the words, "Many young wives feel trapped. It is a contemporary sociological phenomenon which may be explained in part by a gap between changing living patterns and the accommodation of social services to these patterns." Over the stove she had written "Help, Help, Help, Help, Help."

(15) Sometimes she numbers or letters the things in a room, writing the assigned character on each object. There are 819 separate moveable objects in the living-room, counting books. Sometimes she labels objects with their names, or with false names, thus on her bureau the hair brush is labelled HAIR BRUSH, the cologne, COLOGNE, the hand cream, CAT. She is passionately fond of children's dictionaries, encyclopedias, ABCs and all reference books, transfixed and comforted at their simulacra of a complete listing and ordering.

(16) On the door of a bedroom are written two definitions from reference books. "GOD: An object of worship" ; "HOMEOSTASIS: Maintenance of constancy of internal environment."

(17) Sarah Boyle washes the diapers, washes the linen, Oh Saint Veronica, changes the sheets on the baby's crib. She begins to put away some of the toys, stepping over and around the organizations of playthings which still seem inhabited. There are various vehicles, and articles of medicine, domesticity and war: whole zoos of stuffed animals, bruised and odorous with years of love; hundreds of small figures, plastic animals, cowboys, cars, spacemen, with which the children make sub and supra worlds in their play. One of Sarah's favourite toys is the Baba, the wooden Russian doll which, opened, reveals a smaller but otherwise identical doll which opens to reveal, etc., a lesson in infinity at least to the number of seven dolls.

(18) Sarah Boyle's mother has been dead for two years. Sarah Boyle thinks of music as the formal articulation of the passage of time, and of Bach as the most poignant rendering of this. Her eyes are sometimes the colour of the aforementioned kitchen sponge. Her hair is natural spaniel-brown; months ago on an hysterical day she dyed it red, so now it is two-toned with a stripe in the middle, like the painted walls of slum buildings or old schools.

(19) INSERT TWO. THE HEAT DEATH OF THE UNIVERSE.
The second law of thermodynamics can be interpreted to mean that the ENTROPY of a closed system tends towards a maximum and that its available ENERGY tends towards a minimum. It has been held that the Universe constitutes a thermodynamically closed system, and if this were true it would mean that a time must finally come when the Universe "unwinds" itself, no energy being available for use. This state is referred to as the "heat death of the Universe." It is by no means certain, however, that the Universe can be considered as a closed system in this sense.

(20) Sarah Boyle pours out a Coke from the refrigerator and lights a cigarette. The coldness and sweetness of the thick brown liquid make her throat ache and her teeth sting briefly, sweet juice of my youth, her eyes glass with the carbonation, she thinks of the Heat Death of the Universe. A logarithmic of those late summer days, endless as the Irish serpent twisting through jewelled manuscripts forever, tail in mouth, the heat pressing, bloating, doing violence. The Los Angeles sky becomes so filled and bleached with detritus that it loses all colours and silvers like a mirror, reflecting back the fricasseeing earth. Everything becomes warmer and warmer, each particle of matter becoming more agitated, more excited until the bonds shatter, the glues fail, the deodorants lose their seals. She imagines the whole of New York City melting like a Dali into a great chocolate mass, a great soup, the Great Soup of New York.

(21) CLEANING UP THE HOUSE. (THREE.)
Beds made. Vacuuming the hall, a carpet of faded flowers, vines and leaves which endlessly wind and twist into each other in a fevered and permanent ecstasy. Suddenly the vacuum blows instead of sucks, spewing marbles, dolls' eyes, dust, crackers. An old trick. "Oh my god," says Sarah. The baby yells on cue for attention/changing/food. Sarah kicks the vacuum cleaner and it retches and begins working again.

(22) AT LUNCH ONLY ONE GLASS OF MILK IS SPILLED.
At lunch only one glass of milk is spilled.

(23) The plants need watering, Geranium, Hyacinth, Lavender, Avocado, Cyclamen. Feed the fish, happy fish with china castles and mermaids in the bowl. The turtle looks more and more unwell and is probably dying.

(24) Sarah Boyle's blue eyes, how blue? Bluer far and of a different quality than the Nature metaphors which were both engine and fuel to so much of precedant literature. A fine, modern, acid, synthetic blue; the shiny cerulean of the skies on postcards sent from lush subtropics, the natives grinning ivory ambivalent grins in their dark faces; the promising fat, unnatural blue of the heavy tranquilizer capsule; the cool mean blue of that fake kitchen sponge; the deepest, most unbelievable azure of the tiled and mossless interiors of California swimming pools. The chemists in their kitchens cooked, cooled and distilled this blue from thousands of colorless and wonderfully constructed crystals, each one unique and nonpareil; and now that color, hisses, bubbles, burns in Sarah's eyes.

(25) INSERT THREE. ON LIGHT.
LIGHT: Name given to the agency by means of which a viewed object influences the observer's eyes. Consists of electromagnetic radiation within the wave-length range 4 x 10^-5 cm to 7 x 10^-5 cm approximately; variations in the wave-length produce different sensations in the eye, corresponding to different colors. See color vision.

(26) LIGHT AND CLEANING THE LIVING ROOM.
All the objects (819) and surfaces in the living room are dusty, gray common dust as though this were the den of a giant molting mouse. Suddenly quantities of waves or particles of very strong sunlight speed in through the window, and everything incandesces, multiple rainbows. Poised in what has become a solid cube of light, like an ancient insect trapped in amber, Sarah Boyle realizes that the dust is indeed the most beautiful stuff in the room, a manna for the eyes. Duchamp, that father of thought, has set with fixative some dust which fell on one of his sculptures, counting it as part of the work. "That way madness lies, says Sarah," says Sarah. The thought of ordering a household on Dada principles balloons again. All the rooms would fill up with objects, newspapers and magazines would compost, the potatoes in the rack, the canned green beans in the garbage pale would take new heart and come to life again, reaching out green shoots towards the sun. The plants would grow wild and wind into a jungle around the house, splitting plaster, tearing shingles, the garden would enter in at the door. The goldfish would die, the birds would die, we' d have them stuffed; the dog would die from lack of care, and probably the children—all stuffed and sitting around the house, covered with dust.

(27) INSERT FOUR. DADA.
DADA (Fr., hobby-horse) was a nihilistic precursor of Surrealism, invented in Zurich during World War I, a product of hysteria and shock lasting from about 1915 to 1922. It was deliberately anti-art and anti-sense, intended to outrage and scandalize and its most characteristic production was the reproduction of the Mona Lisa decorated with a moustache and the obscene caption LHOOQ (read: elle a chaud au cul) "by" Duchamp. Other manifestations included Arp's collages of coloured paper cut out at random and shuffled, ready-made objects such as the bottle drier and the bicycle wheel "signed" by Duchamp, Picabia's drawings of bits of machinery with incongruous titles, incoherent poetry, a lecture given by 38 lecturers in unison, and an exhibition in Cologne in 1920, held in an annex to a café lavatory, at which a chopper was provided for spectators to smash the exhibits with—which they did.

(28) TIME-PIECES AND OTHER MEASURING DEVICES.
In the Boyle house there are four clocks; three watches (one a Mickey Mouse watch which does not work); two calendars and two engagement books; three rulers, a yardstick; a measuring cup; a set of red plastic measuring spoons which includes a tablespoon, a teaspoon, a one-half teaspoon, one-fourth teaspoon and one-eighth teaspoon; an egg timer; an oral thermometer and a rectal thermometer; a Boy Scout compass; a barometer in the shape of a house, in and out of which an old woman and an old man chase each other forever without fulfillment; a bathroom scale; an infant scale; a tape measure which can be pulled out of a stuffed felt strawberry; a wall on which the children's heights are marked; a metronome.

(29) Sarah Boyle finds a new line in her face after lunch while cleaning the bathroom. It is as yet barely visible, running from the midpoint of her forehead to the bridge of her nose. By inward curling of her eyebrows she can etch it clearly as it will come to appear in the future. She marks another mark on the wall where she has drawn out a scoring area. Face Lines and Other Intimations of Mortality, the heading says. There are thirty-two marks, counting this latest one.

(30) Sarah Boyle is a vivacious and witty young wife and mother, educated at a fine Eastern college, proud of her growing family which keeps her happy and busy around the house, involved in many hobbies and community activities, and only occasionally given to obsessions concerning Time/Entropy/Chaos and Death.

(31) Sarah Boyle is never quite sure how many children she has.

(32) Sarah thinks from time to time; Sarah is occasionally visited with this thought; at times this thought comes upon Sarah, that there are things to be hoped for, accomplishments to be desired beyond the mere reproductions, mirror reproduction of one's kind. The babies. Lying in bed at night sometimes the memory of the act of birth, always the hue and texture of red plush theatre seats, washes up; the rending which always, at a certain intensity of pain, slipped into landscapes, the sweet breath of the sweating nurse. The wooden Russian doll has bright, perfectly round red spots on her cheeks, she splits in the center to reveal a doll smaller but in all other respects identical with round bright red spots on her cheeks, etc.

(33) How fortunate for the species, Sarah muses or is mused, that children are as ingratiating as we know them. Otherwise they would soon be salted off for the leeches they are, and the race would extinguish itself in a fair sweet flowering, the last generations' massive achievement in the arts and pursuits of high civilization. The finest women would have their tubes tied off at the age of twelve, or perhaps refrain altogether from the Act of Love? All interests would be bent to a refining and perfecting of each febrile sense, each fluid hour, with no more cowardly investment in immortality via the patchy and too often disappointing vegetables of one's own womb.

(34) INSERT FIVE. LOVE.
LOVE: a typical sentiment involving fondness for, or attachment to, an object, the idea of which is emotionally colored whenever it arises in the mind, and capable, as Shand has pointed out, of evoking any one of a whole gamut of primary emotions, according to the situation in which the object is placed, or represented; often, and by psychoanalysts always, used in the sense of sex-love or even lust (q.v.)

(35) Sarah Boyle has at times felt a unity with her body, at other times a complete separation. The mind/body duality considered. The time/space duality considered. The male/female duality considered. The matter/energy duality considered. Sometimes, at extremes, her Body seems to her an animal on a leash, taken for walks in the park by her Mind. The lamp posts of experience. Her arms are lightly freckled and when she gets very tired the places under her eyes become violet.

(36) Housework is never completed, the chaos always lurks ready to encroach on any area left unweeded, a jungle filled with dirty pans and the roaring giant stuffed toy animals suddenly turned savage. Terrible glass eyes.

(37) SHOPPING FOR THE BIRTHDAY CAKE.
Shopping in the supermarket with the baby in front of the cart and a larger child holding on. The light from the ice-cube-tray-shaped fluorescent lights is mixed blue and pink and brighter, colder, and cheaper than daylight. The doors swing open just as you reach out your hand for them, Tantalus, moving with a ghastly quiet swing. Hot dogs for the party. Potato chips, gum drops, a paper tablecloth with birthday designs, hot dog buns, catsup, mustard, picalilli, balloons, instant coffee Continental style, dog food, frozen peas, ice cream, frozen lima beans, frozen broccoli in butter sauce, paper birthday hats, paper napkins in three colors, a box of Sugar Frosted Flakes with a Wolfgang Amadeus Mozart mask on the back, bread, pizza mix. The notes of a just-graspable music filter through the giant store, for the most part by-passing the brain and acting directly on the liver, blood and lymph. The air is delicately scented with aluminum. Half and half cream, tea bags, bacon, sandwich meat, strawberry jam. Sarah is in front of the shelves of cleaning products now, and the baby is beginning to whine. Around her are whole libraries of objects, offering themselves. Some of that same old hysteria that had incarnadined her hair rises up again, and she does not refuse it. There is one moment when she can choose direction, like standing on a chalk-drawn X, a hot cross bun, and she does not choose calm and measure. Sarah Boyle begins to pick out, methodically, deliberately and with a careful ecstasy, one of every cleaning product which the store sells. Window Cleaner, Glass Cleaner, Brass Polish, Silver Polish, Steel Wool, eighteen different brands of Detergent, Disinfectant, Toilet Cleanser, Water Softener, Fabric Softener, Drain Cleanser, Spot Remover, Floor Wax, Furniture Wax, Car Wax, Carpet Shampoo, Dog Shampoo, Shampoo for people with dry, oily and normal hair, for people with dandruff, for people with grey hair. Tooth Paste, Tooth Powder, Denture Cleaner, Deodorants, Antiperspirants, Antiseptics, Soaps, Cleansers, Abrasives, Oven Cleansers, Makeup Removers. When the same products appear in different sizes Sarah takes one of each size. For some products she accumulates whole little families of containers: a giant Father bottle of shampoo, a Mother bottle, an Older Sister bottle just smaller than the Mother bottle, and a very tiny Baby Brother bottle. Sarah fills three shopping carts and has to have help wheeling them all down the aisles. At the checkout counter her laughter and hysteria keep threatening to overflow as the pale blonde clerk with no eyebrows like the Mona Lisa pretends normality and disinterest. The bill comes to $57.53 and Sarah has to write a check. Driving home, the baby strapped in the drive-a-cot and the paper bags bulging in the back seat, she cries.

(38) BEFORE THE PARTY.
Mrs. David Boyle, mother-in-law of Sarah Boyle, is coming to the party of her grandchild. She brings a toy, a yellow wooden duck on a string, made in Austria: the duck quacks as it is pulled along the floor. Sarah is filling paper cups with gum drops and chocolates, and Mrs. David Boyle sits at the kitchen table and talks to her. She is talking about several things, she is talking about her garden which is flourishing except for a plague of rare black beetles, thought to have come from Hong Kong, which are undermining some of the most delicate growths at the roots, and feasting on the leaves of other plants. She is talking about a sale of household linens which she plans to attend on the following Tuesday. She is talking about her neighbor who has cancer and is wasting away. The neighbor is a Catholic woman who had never had a day's illness in her life until the cancer struck, and now she is, apparently, failing with dizzying speed. The doctor says her body's chaos, chaos, cells running wild all over, says Mrs. David Boyle. When I visited her she hardly knew me, can hardly speak, can' t keep herself clean, says Mrs. David Boyle.

(39) Sometimes Sarah can hardly remember how many cute chubby little children she has.

(40) When she used to stand out in center field far away from the other players, she used to make up songs and sing them to herself.

(41) She thinks of the end of the world by ice.

(42) She thinks of the end of the world by water.

(43) She thinks of the end of the world by nuclear war.

(44) There must be more than this, Sarah Boyle thinks, from time to time. What could one do to justify one's passage? Or less ambitiously, to change, even in the motion of the smallest mote, the course and circulation of the world? Sometimes Sarah's dreams are of heroic girth, a new symphony using laboratories of machinery and all invented instruments, at once giant in scope and intelligible to all, to heal the bloody breach; a series of paintings which would transfigure and astonish and calm the frenzied art world in its panting race; a new novel that would refurbish language. Sometimes she considers the mystical, the streaky and random, and it seems that one change, no matter how small, would be enough. Turtles are supposed to live for many years. To carve a name, date and perhaps a word of hope upon a turtle's shell, then set him free to wend the world, surely this one act might cancel out absurdity?

(45) Mrs. David Boyle has a faint moustache, like Duchamp's Mona Lisa.

(46) THE BIRTHDAY PARTY.
Many children dressed in pastels, sit around the long table. They are exhausted and overexcited from games fiercely played, some are flushed and wet, others unnaturally pale. This general agitation, and the paper party hats they wear, combine to make them appear a dinner party of debauched midgets. It is time for the cake. A huge chocolate cake in the shape of a rocket and launching pad and covered with blue and pink icing is carried in. In the hush the birthday child begins to cry. He stops crying, makes a wish and blows out the candles.

(47) One child will not eat hot dogs, ice cream or cake, and asks for cereal. Sarah pours him out a bowl of Sugar Frosted Flakes, and a moment later he chokes. Sarah pounds him on the back, and out spits a tiny green plastic snake with red glassy eyes, the Surprise Gift. All the children want it.

(48) AFTER THE PARTY THE CHILDREN ARE PUT TO BED.
Bath time. Observing the nakedness of children, pink and slippery as seals, squealing as seals, now the splashing, grunting and smacking of cherry flesh on raspberry flesh reverberate in the pearl tiled steamy cubicle. The nakedness of children is so much more absolute than that of the mature. No musky curling hair to indicate the target points, no knobbly clutch of plane and fat and curvature to ennoble this prince of beasts. All well-fed naked children appear edible, Sarah's teeth hum in her head with memory of bloody feastings, prehistory. Young humans appear too like the young of other species for smugness, and the comparison is not even in their favor, they are much the most peeled and unsupple of those young. Such pinkness, such utter nuded pinkness; the orifices neatly incised, rimmed with a slightly deeper rose, the incessant demands for breast, time, milks of many sorts.

(49) INSERT SIX. WEINER ON ENTROPY.
In Gibb's Universe order is least probable, chaos most probable. But while the Universe as a whole, if indeed there is a whole Universe, tends to run down, there are local enclaves whose direction seems opposed to that of the Universe at large and in which there is a limited and temporary tendency for organization to increase. Life finds its home in some of these enclaves.

(50) Sarah Boyle imagines, in her mind's eye, cleaning, and ordering the great world, even the Universe. Filling the great spaces of Space with a marvellous sweet smelling, deep cleansing foam. Deodorizing rank caves and volcanoes. Scrubbing rocks.

(51) INSERT SEVEN. TURTLES.
Many different species of carnivorous Turtles live in the fresh waters of the tropical and temperate zones of various continents. Most northerly of the European Turtles (extending as far as Holland and Lithuania) is the European Pond Turtle (Emys orbicularis). It is from eight to ten inches long and may live a hundred years.

(52) CLEANING UP AFTER THE PARTY.
Sarah is cleaning up after the party. Gum drops and melted ice cream surge off paper plates, making holes in the paper tablecloth through the printed roses. A fly has died a splendid death in a pool of strawberry ice cream. Wet jelly beans stain all they touch, finally becoming themselves colorless, opaque white flocks of tames or sleeping maggots. Plastic favors mount half-eaten pieces of blue cake. Strewn about are thin strips of fortune papers from the Japanese poppers. Upon them are printed strangely assorted phrases selected by apparently unilingual Japanese. Crowds of delicate yellow people spending great chunks of their lives in producing these most ephemeral of objects, and inscribing thousands of fine papers with absurd and incomprehensible messages. "The very hairs of your head are all numbered," reads one. Most of the balloons have popped. Someone has planted a hot dog in the daffodil pot. A few of the helium balloons have escaped their owners and now ride the ceiling. Another fortune paper reads, "Emperor's horses meet death worse, numbers, numbers."

(53) She is very tired, violet under the eyes, mauve beneath the eyes. Her uncle in Ohio used to get the same marks under his eyes. She goes to the kitchen to lay the table for tomorrow's breakfast, then she sees that in the turtle's bowl the turtle is floating, still, on the surface of the water. Sarah Boyle pokes at it with a pencil but it does not move. She stands for several minutes looking at the dead turtle on the surface of the water. She is crying again.

(54) She begins to cry. She goes to the refrigerator and takes out a carton of eggs, white eggs, extra large. She throws them one by one onto the kitchen floor which is patterned with strawberries in squares. They break beautifully. There is a Secret Society of Dentists, all moustached, with Special Code and Magic Rings. She begins to cry. She takes up three bunny dishes and throws them against the refrigerator; they shatter, and then the floor is covered with shards, chunks of partial bunnies, an ear, an eye here, a paw; Stockton, California, Acton, California, Chico, California, Redding, California Glen Ellen, California, Cadix, California, Angels Camp, California, Half Moon Bay. The total ENTROPY of the Universe therefore is increasing, tending towards a maximum, corresponding to complete disorder of the particles in it. She is crying, her mouth is open. She throws a jar of grape jelly and it smashes the window over the sink. It has been held that the Universe constitutes a thermodynamically closed system, and if this were true it would mean that a time must finally come when the Universe "unwinds" itself, no energy being available for use. This state is referred to as the "Heat Death of the Universe." Sarah Boyle begins to cry. She throws a jar of strawberry jam against the stove, enamel chips off and the stove begins to bleed. Bach had twenty children, how many children has Sarah Boyle? Her mouth is open. Her mouth is opening. She turns on the water and fills the sink with detergent. She writes on the kitchen wall, "William Shakespeare has Cancer and lives in California." She writes, "Sugar Frosted Flakes are the Food of the Gods." The water foams up in the sink, overflowing, bubbling onto the strawberry floor. She is about to begin to cry. Her mouth is opening. She is crying. She cries. How can one ever tell whether there are one or many fish? She begins to break glasses and dishes, she throws cups and cooking pots and jars of food, which shatter and break, and spread over the kitchen. The sand keeps falling, very quietly, in the egg timer. The old man and woman in the barometer never catch each other. She picks up eggs and throws them into the air. She begins to cry. She opens her mouth. The eggs arch slowly through the kitchen, like a baseball, hit high against the spring sky, seen from far away. They go higher and higher in the stillness, hesitate at the zenith, then begin to fall away slowly, slowly, through the fine clear air.