Take heart, dear readers, for this is the fourth installment of a writer's secret journal--if you're happy with it, we're happy with it. If this does not satisfy you I'll have to bring out a monkey on a stick. Ask Mr. Honorificas if you don't believe me, as he will testify that replacing linoleum tile with ceramic is quite a trial.

Yours sarcastically,

John "The Facetious" Lawson, editor

P.S. J. Scott "Malby" has asked that fans not share lawsuits when dealing with him. He still recommends straw on dirt as flooring. Thank you.

Journal entry #5.

What an entertaining surprise. It took her only two days!

Dear Paolo,

O.k. I'm intrigued. I have indeed confused Bill Blake with William Blake. Is
Bill Blake a contemporary? I'm honored that you did choose Fractured Muse.

Best of luck always,
Marie Excelsus

Hmmm. I had to respond back. How could I ignore the fact that she was
honored? Facetiousness is my middle name. I suppose I could misspell
"Fractured Muse"? Better yet, I could discount it entirely. Here goes:

Charming Marie:

Thank you so much for your query. The answer to your question is not a
simple one. I wish to compliment you for your implied quality of mind that
shows itself in this matter to be open, articulate and interested in
continuing education.

Not many editors have the intellectual stamina to pursue important literary questions beyond the superficially obvious. I commend your superiors for having you on their staff. I would also recommend that you save this laudatory email in case you get into trouble at "Able Muse". It may help you get out of it. Feel free as well to use my name as a reference should you decide at any time in the near future to pursue "real" employment.

The confusion you evidence regarding the similarity of names is
understandable. "Bill Blake" and "William Blake" do have a definite alliterative resemblance. There are other differences and similarities for the student of English poetry to discover as well. Issues of literary
criticism, historicity and metrics regarding this issue serve to complicate
and frustrate competent literary analysis. To go into them at this time is
neither desirable nor cogent. However, if you wish to do so at a later date,
I would be glad to walk with you down that perilous but delightful path of
meandering intellectual discovery.

Briefly stated, Bill Blake is the son of the poet, actress and raconteur Elda Furry. I am including an interview with her that was done a short time
ago. Should you need to quote from it please provide the standard scholarly citation.

If you still have questions- feel free to contact me again regarding this
matter. By the way, what color is your hair? I ask because I am conducting
research into the relationship between hair color and poetic ability.
Sincerely, Paolo Honorificas

An Interview With Poet Elda Furry
Interviewed by Paolo Honorificas

Elda Furry is best known for her imagist explorations in the development of a new expressive form she pioneered called "Magico-Techno Realism'. We arranged to meet in the large studio located on her estate. Upon walking into the room I was overwhelmed by her collection of hats and the photographic equipment she appeared to be in the process of using. A huge bear rug was placed on the floor in front of a roaring fireplace. It was obvious that she was about to have or had just finished a shooting session. An antique couch was draped with red satin cloth. In the corner of the
studio was a sandbox containing several beach balls. On a table near some chairs was a bottle of chilling wine and two large glasses already filled
with the welcoming liquid. She motioned me to take a seat. Handing me a
glass she smiled and asked me to wait while she positioned several
formidable looking camera lights out of our way.

Paolo: Your studio is a little overwhelming.

Elda: My work is increasingly involved in using more than one art form at a
time. I need a large space. The other day I had a few friends over and
showed them the studio. One of them said the studio would make a good
pornography den. Can you imagine that? It was said in such a funny way I had to laugh.

Paolo: With your hard won reputation that would be funny.

Elda: I have been around a long time.

Paolo: May I ask how old you are?

Elda: No. You may not. You are a very pleasant looking young man. What if
you were asked how old you were all the time?

Paolo: I wouldn't like it.

Elda: Right. What does age have to do with art? I must admit though my work keeps me young. If it helps you any I was born in 1890.

Paolo: That would make you well over 100.

Elda: Who’s counting. I'm still able to get around.

Paolo: I know your time is valuable. Thank you for consenting to this
interview.

Elda: Its important for people who have tasted a little of life's success to
help make space for others. If this interview helps you in some way I'm glad.

Paolo: My editor was impressed. This interview means a lot to her.

Elda: And you?

Paolo: To be honest it is a feather in my cap. Speaking about hats I see you
have a lot of them around. What do they represent to you?

Elda: Different things I guess. They remind me of experiences I've had. Some remind me of people. I have a hat Eliot wore. One of them belonged to Robinson Jeffers. Most are hats I wore at one time or another. I'm fixated on hats. But I guess you gathered that. That was a nice hat you had on. Who knows, maybe I'll end up with yours before this interview is over.

Paolo: (this interviewer laughs) I doubt it. I'm pretty attached to it. Hats
play an interesting role in your...

Elda: (interrupting the interviewer) my poetry of course and my other
writing. Last year I came out with a book of photography dealing just with
hats. You've seen it of course.

Paolo: No, I'm afraid not.

Elda: Pity, you really should have. At least you're honest. I find that
appealing. (Elda laughs coyly).

Paolo: I think its safe to say you are one of the great confessional writers
of the age. Forgive me for saying this but in your early work you seemed to
spend a great deal of time saying whose been sleeping with who but never who you were sleeping with.

Elda: That was very direct and perceptive. Its not that that kind of
revelation embarrasses me. It's an intentional omission on my part. I was
saving my reminiscences for this stage of my life.

Paolo: Really?

Elda: My autobiography is in the works. You're the first to know. Would you call that a scoop or something?

Paolo: Our readers will be interested in knowing. Some reviewers have noted a dark undercurrent welling up out of your more recent poems.

Elda: (fingering a long hat pin angrily) One critic went so far as to say I
was rather negative.

Paolo: How would you respond to that?

Elda: You can't please everyone. Is it my place to answer such criticism? It's easy to say what you are for but its what you're against that's really
important. That's what everyone wants to know about.

Paolo: I don't understand.

Elda: Of course not. You're very young. I didn't expect you would.

Paolo: Could you expand on that statement?

Elda: Hell no. I mean why should I? Look, the object is not to destroy ones
inner ambiguity or chaos. Its to work with it. Combining the destructive and constructive tendencies in oneself so that something lasting may be created. It is that tension in balance that supports the framework of a poem or other work of art.

Paolo: Could you talk more about that?

Elda: Don't know if I can. In my creative life I have somehow managed to
forge a career out of gossip. I thrive on experiences. Especially on the
experiences of others in relationship to myself. Read the National Enquirer. You'll get the idea what I mean.

Paolo: You actually recommend it?

Elda: Certainly. Lets get down to the elemental. What does all poetry have
in common?

Paolo: I would be afraid to hazard a guess. I don't know.

Elda: That's why you're interviewing me and its not the other way around. I'll tell you. It's a form of gossip and people lust for it. Take gossip out
of poetry and you're left with a husk of barren uninteresting facts held
together by grammatical parts of speech. People are voyeurs. We all are.

Paolo: Could we talk specifically about some of your poems?

Elda: No.

Paolo: Why not?

Elda: I've discovered that talking about past work prevents me from
concentrating on work to come. Besides, a poem should explain itself or it's
not a successful poem.

Paolo: You're a difficult person to interview.

Elda: Are you saying that because I'm a woman?

Paolo: (uncomfortable) Do you really believe that?

Elda: It’s got me where I am today.

Paolo: I'm trying to get you to talk about yourself and your amazing body of work in a more revealing, in depth sort of way.

Elda: I know what you're trying to do. It won't work. I'm a very private
person.

Paolo: But you’re famous for your confessional poetry. Don't you see a
contradiction there?

Elda: Is that a Paris Review sort of question?

Paolo: What do you mean by that?

Elda: What do you think I mean?

Paolo: It seems the tables are reversed here and you're trying to interview
me.

Elda: Just trying to get material, that's all.

Paolo: Material?

Elda: Drink more wine. Your glass has a little still in it. (Elda refills
this interviewer's cup) Now, where was I? Oh, material. I mean material to
write about. When Wolf was still around I got it from him. Its been a long
haul over the years. I've got to get my inspiration from somewhere. I'm not
young anymore. For a woman that's a complicated issue to deal with.

Paolo: Have you found sexism to be a problem?

Elda: Its always an implied barrier. Take this situation for example. The
fact that you're an attractive young man and I'm a successful older woman
may color the way we relate to each other. Though I don't see that growing
old in and of itself happens to be a sexist thing.

Paolo: Don't you think its easier in this society for a man to age more
gracefully?

Elda: You won't let it drop will you?

Paolo: Pardon me?

Elda: Sex. That's all people your age think about.

Paolo: I'm afraid I don't.

Elda: Come on now, you find me somewhat attractive don't you?

Paolo: I find you a very attractive woman for such an advanced age but also a very difficult person to interview.

Elda: I knew it! My fame excites you. I saw the way you licked your lips
with your tongue. You sexist pig! You've got the hots for me. Isn't anything
sacred?

Paolo: If I've offended you I'm truly sorry but you've misinterpreted my...


Elda: Can the subterfuge! There, that's an example of how I get my
inspiration for writing. I create a situation in reality and see where it
takes me. That's what magico-techno realism is all about. You have to first
experience it on a visceral level before you can come to terms with it
intellectually.

Paolo: Oh! You had me going there.

Elda: Did I? What if I complained that you tried to put the make on me?

Paolo: Is this another example of magico-techno?

Elda: Just answer the question.

Paolo: With your reputation and stature I don't think it would matter what I said.

Elda: Exactly. Do you want to finish this interview on a positive note?

Paolo: (This interviewer fidgets in his seat) Yes. As quickly as possible.


Elda: All right. We're beginning to understand each other. I want you to
drink another glass of wine. You see I have all the power and you have what?

Paolo: Squat? (this interviewer swallows the entire glass of wine)

Elda: Not exactly...you do have something I want. Here, let me give you more wine. I expect you to be polite and drink it all. What I propose is this. I'll bet you have gorgeous skin and muscles under those clothes. I'm having a problem finding the right male model for a photography exhibit the
Guggenheim has asked me to give. We'll take a break and take some photos.
After that who knows what might develop? When I'm through with you I promise to finish the interview in ladylike fashion. I promise you your editor will be very pleased with what you bring back to her. You really don't have a choice you know.

Paolo: (This interviewer rises from his seat. Sweat falls copiously from his
brow) I have two more questions to ask.

Elda: Well?

Paolo: Where do I put my clothes?

Elda: Wait. I want to photograph you removing them. Just let them drop where they fall. You can hand me your hat. Your second question?

Paolo: What comes after that?

Elda: That's easy. The couch, the rug and the sandbox.