We refused to take anything removed and distanced from the context within which it arose during our conversation as self-evident or obvious. As far as we were concerned, our approximation of truth should resist being tacked into place by the tricky syllogisms of a logical system. For us, truth dwelt in the paradoxical and seemingly inconsistent, in the friction of antinomy. Our discourse largely adhered to a circular rather than a linear flow. However, despite our circumlocution, our energy, in opposition to certain laws postulated by Newtonian physics, was not perpetually recycled. Rather, the meaningful play of our conversation constantly jettisoned the irrelevant and uninteresting. So that we might be able to suddenly branch off into more provocative avenues of discussion, we made use of escape hatches and fire escapes. Hence our conversation would molt to reveal surfaces inspired by the tangential and capricious, by the stream of consciousness. In short, we sometimes set the player on random. Above all, what we shared momentarily lightened the oppressive weight of our existence.
Kevin Fitzgerald's work also appears in Cauldron. He wrote his master's thesis on Maurice Blanchot. He recently published a chapbook-length parody entitled _Silhouettes_. He currently lives in New York City, where he is working on a novel.