Though I was doing my best to give passengers room to exit the train, I was hopelessly in the way. On some mornings, it's impossible to stand on the train and <i>not</i> be in the way. Everyone scrambles toward the open doors, as if departing this train, right now &#151; right now! &#151; means the world. The world. I think it's because I hate this, that I try to do the opposite. When it's my turn to depart, I move carefully and slowly, perhaps in some futile attempt to show others how gracefully done it can be. Fellow passengers, there is another way. Watch as I move through these doors with such ease and finesse.

Pascal Wyse sure loves musical innuendo.

<I>The Guardian</I> has some further thoughts on "meh." All of which simply points out that <A HREF="http://heideas.blogspot.com/2005/03/beyond-embiggens-and-cromulent.html…; was right when she said that the Simpsons are all about linguistics.

There's a nice interview with <I>New Yorker</I> editor Remnick in <I>The Independent</I>. As a writer, I suppose I should mention how much I identify with all kinds of questions of craft revealed here, but, really, what I most identified with was his anecdote about listening to Bob Dylan records and discovering T. S. Eliot and Rimbaud.

The Dave Brubeck Quartet hits one out of the park in this 1966 performance. The fabulous Eugene Wright looks completely out of place as the only band member without eye-wear.