Arthur looks to the next day with some foreboding,
As Barbara is pleased to give up a dear friend.
Cornelia is forgotten, for she lived long ago.
Dave is after money, but he wants children, too, and an obedient wife.
Edward is afraid of so many things, it is hard to say what he wants strongly.
Frank takes things as they come, except when he can't.
A thing can frighten Gertrude, which she hardly sees.
When you say things to Hulbert, you can be hardly sure he's listening.
If you hear a mean thing from Ingrid, do not be surprised.
Jacqueline gets confused, but she manages to hide it pretty well.
Kenneth is ambitious, but he has fits of awful laziness.
Louis does pretty well, but he is not too clear about what is important.
Manny's fondness for money is excessive.
Nona is in delicate health, and doesn't like people.
Ottfried lived long ago, and so he should not get into this at all.
Paul can change his mind without knowing it.
Quincy is given to intellectual things in order to live up to his name; but he has an interesting, in fact inordinate, fondness for sweets.
Rachel has a tendency to be sad in a manner which is discomforting to those close to her.
Sidney wishes to go into politics, and his desire for political success is so great, other things some people are fond of are not to be looked for in him, or shall we say, from him.
Thomas is dull as a means of protecting himself.
Ursula is a nun at heart, without being too religious; she is a paradox persons haven't found it zestful enough to understand.
Viola in a dim way is given to everything musical, but eating is attractive, too, to her.
Winnie is frivolous as a means of conquering life.
Ximena is a nice name, but there is no girl to go with it.
Yolanda coughs a great deal to hide her continuing uncertainty about life.
Zoe is passionate, but it is not for life.
These are people picked purposefully but representative all.
Watch out, watch out, and see into what category you may fall.
And you will, you will, unless you are critical.
Hail, American Development (Definition Press)
© 1968 by Eli Siegel