In bed that night I invented a special drain that would be underneath every pillow in New York, and would connect to the reservoir. Whenever people cried themselves to sleep, the tears would all go to the same place, and in the morning the weatherman could report if the water level of the Reservoir of Tears had gone up or down, and you could know if New York is in heavy boots.
Instead of singing in the shower, I would write out the lyrics of my favourite songs, the ink would turn the water blue or red or green, and the music would run down my legs.
Some make their worlds without knowing it. Their universes are just sesame seeds and three-day weekends and dial tones and skinned knees and physics and driftwood and emerald earrings and books dropped in bathtubs and holes in guitars and plastic and empathy and hardwood and heavy water and high black stockings and the history of the Vikings and brass and obsolescence and burnt hair and collapsed souffles and the impossibility of not falling in love in an art museum with the person standing next to you looking at the same painting and all the other things that just happen and are.
In the water I saw my father's face, and that face saw the face of its father, and so on, and so on, reflecting backward to the beginning of time, to the face of God, in whose image we were created.
Find a printer paper and imagine a full-grown bird shaped something like a football with legs standing on it. Imagine 33,000 of these rectangles in a grid. (Broilers are never in cages, and never on multiple levels.) Now enclose the grid with windowless walls and put a ceiling on top. Run in automated (drug-laced) feed, water, heating, and ventilation systems. This is a farm.
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