a love i ran from

it blows on the wind every once in a while
drifting and settling in.
it blows on the wind and starts settling--
in gold dust and smoke and pain.
it shimmers and promises
and swears by the moon,
while the sun is fast asleep.
as diamonds of night
cast shadows that dance,
it imbues the spirit of that
which light has deemed
unfit [whatever that means].

she understands the trees and stars;
 i've never seen a more broken heart.
the scars on the canvas and the scars on her arms
tell of a darkness that lies in the heart of everything.

start

The problem is I never  know the story I want to tell. Need to tell. I don't know where to start or if there is a good place to start or if any of that even matters, because the end and the beginning are intertwined anyway.

Could you explain that, please?

Sure. It's like...In all things. In life, in death, in destruction, and creation. When God said "Let there be light" that was the end of darkness. When Bilbo left the one ring with Frodo it was an end of one chapter and the beginning of another. So it is with the business of the play I'm writing. I started it because...well, I'm not really sure why I started it aside from needing something to do to get my mind moving a little quicker than molasses in January. The weed doesn't help, and the cigarettes are just killing my singing voice. These songs that Davey writes are written FOR me. Just like the dialogue I'm writing for Eilanna is written FOR her. But I can't sing, and Eilanna is depressed and just doesn't seem to be able to deliver the sense of "fragile hope" that the character Marietta HAS to convey. But replacing her is impossible. Not only because Eilanna is the only girl I can talk to without hyperventilating (though, that definitely plays into it), but also because there is no one else in the world who can literally read Button's mind, and for this piece to work on any real sort of level the mind reading thing has to be authentic. Otherwise the whole play falls apart.

This play seems to be very ambitious. I mean, there is a lot going into it from a lot of people who don't seem to quite be in the frame of mind to really pull it off. What do you make of those challenges and where do you go from there?

No, I mean you are absolutely right. This is a really ambitious thing we are doing and like you said we aren't really this cognitive whole yet, and there is a ton of shit piling against us. I guess though Davey is kind of our green light at the end of the dock, in a way. He's that thing that keeps us going and makes us believe that what we are doing is all worthwhile and possible and could actually mean something, you know? He's pumping out these songs and he's got something like 25 songs all written and there is backstory and plot ideas and page after page of notes to go along with every song and from that what we do like, 95% of the time is get together either in Davey's mom's basement or out in the woods at the cabin and we take Davey's songs and he teaches them to us and we all kind of add and take away, sort of molding these songs from being "Davey's Songs" into this collective work and then we play the songs and we smoke and we drink and we do dramatic readings of the notes that Davey has included and then we pass out and get up the next day and do it again and we'll do this for like 18 hours a day some days, and then we'll sleep the whole next day and then the day after that we'll do it all again. So, the songs are coming along really well and it's as if we really are delving deep into the world of this whole story and living inside of it. The thing is it has just become so big and just real to us it's like trying to put it on as this 2 hour stage production is just mind boggling. Because everything has become important. All the little details and the factoids that tie together. You know it's really hard to explain, because like I said there is just so much to it.