Fishing For Answers

We are headed for massively tough times. Billions will die as a result of how the climate crisis will change the entire planet. Today I learned that the colonization of Mars and even the Moon is something that takes far more time than we have. And it is not the utopian answer some science fictionists tend to offer. We have to master living in fishbowls, contained environments, and terrarium-type reverse aquariums.

I am brainstorming my own survivalist fiction now thinking not about life in space, but about life in reverse aquariums… underwater at the bottom of the oceans.

Of course, to do this, we have a number of problems to overcome… yesterday. The oceans are turning to acid which is generally inhospitable to life… and to the things we would have to build underwater to survive. We don’t want those things to dissolve. So a massive effort at deacidification needs to be already underway. As large areas of land will be covered with water, there will need to be industrial-sized efforts to desalinate ocean water to create fresh water to sustain not only us but also all the non-salt-water breathing things we take with us under the waves. And living in fishbowls under the sea will take a concerted effort to compensate for the pressures experienced underneath tons and tons of water.

The technology already exists to build underwater domed cities, safe from surface weather. And it may soon be the only safe place to build. The problem is that we are way behind in building such habitats.

And we would have to adapt undersea farming, raising food fish, edible seaweed, and surface plants in bubble farms at the bottom of the ocean growing vegetables under artificial sun sources. Underwater tramsportation would need to be inserted; tube trains, submersibles, pressurized undersea suits, and amphibious vehicles that can transition from underwater travel to surface sailing and even land roving.

Our society would undergo significant changes as culture and behavior have to become sea centered.

So, there you have it. Sufficient notes to begin contemplating the science fiction stories of nautical life in the great undersea of a climate-disaster future.

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Thinking About Another Birthday

I was born in a blizzard during the middle of the 1950’s. Dwight Eisenhower was President of the United States. John F. Kennedy had written the book Profiles in Courage. Elvis Presley was pushing Rock and Roll to new heights. My father was a Korean War veteran who served in the Navy aboard aircraft carriers. My mother was a registered nurse. And all of that made me a Baby Boomer, a Midwestern child of the middle class, benefiting from Roosevelt’s New Deal, and more than a decade of economic boom, and I was in many ways truly blessed.

I think the Baby Boomer generation has a lot to answer for. As a group, we have not taken our blessings for what they truly are and selfishly did not give back as much as we were given. Self-sacrifice and service were considered unintelligent things to pursue. Wealth and power were the things universally pursued. And averting climate disaster fell within our power. And we didn’t do nothing to help the problem. We actively made matters worse.

Hopefully, however, we have more than our share of people who followed the kind of path I did. I chose teaching as the way to serve my society and my country. I put in over thirty years working with kids, teaching them to read and write and helping them to transform from children into young adults. And I did it in spite of the fact that investment culture and the drive to earn massive wealth tended to make people look down on teachers. We didn’t get the respect and the monetary rewards that we actually deserved. I don’t have to feel dissatisfied with my role. But I do regret the consequences we face because of it. If you denigrate teachers and education in general, you are going to raise a generation of stupid people.

So, let me give you what little wisdom I have gained in the struggle of my 67 years on this less-than-perfect planet.

The only wisdom I can offer that I am absolutely certain of is this, I am basically a fool muddling my way through the labyrinth the best way that I can. We are all fools. And those that don’t admit that do me the favor of proving there are bigger fools than me.

The former President of the United States number 45 is a criminal. Even a fool like me can see it. He needs to be removed and the people who have enabled him need to be voted out.

He may, however, survive it. He may even win another four years. After all, the foxes have been running the hen-house for years now. And the party in charge cheats at election time.

We may have flubbed our stewardship of the planet so badly that all life on Earth will be wiped out by atmospheric changes. Fossil fuel corporations have won a Pyrrhic victory.

But even if we have no future as a species, our lives have been valuable. Every child is born good and loving and worthy of love. And even though some are too soon taught evil ways or too soon robbed of their birthright, the story of the human race is a good one. We did great things. We took serious dilemmas and solved them. We wrote good morals, and more often than not, we finished writing the sentence of our lives correctly. We had a right to be here. And even if our collective candle flame goes out, the brief time that it was shining made the universe a brighter place.

I am a pessimist by nature. I don’t expect to survive until another birthday passes. I didn’t expect to reach this one alive. If I do, I have a right to be both pleased and amazed. I can make no promises for the future. But I do know this, everything in the past was worth it.

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Toons Are Easy

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More Digital Art

There are fairy babies playing around on Grandma’s bed.

One of Grandma’s cats knows how to transform into a human boy.

Cissy plans on sending Grandma a postcard from Mars.

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Oxfordian Rationalizations

Yes, I am, perhaps, a bit of a fool for believing Edward de Vere, the 17th Earl of Oxford, is the writer behind the works of William Shakespeare.  How do you prove something is true when it is so obvious that someone worked really hard to keep it a secret for all this time?  Is it a betrayal of the man to go against his apparent wishes and try to out him for his incredible secret?  It is hard for me to judge.  After all, I know I am a fool.

But even if he is not Shakespeare, and just sits at the apex of a mountain of coincidences, I am fascinated by the historical character of Edward de Vere.

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The keep at Hedingham Castle, the de Vere family seat in Essex (photo by David Phillips)

He was born the only son of John de Vere, the 16th Earl of Oxford, and heir to the second oldest title among English nobility.  His father stood by Elizabeth when she was under house arrest under the reign of Bloody Mary, and went with her as a court favorite to the throne of England when she survived the ordeal.  So naturally Edward was a favorite of Elizabeth’s since childhood.  Later stories would suggest he became the Queen’s secret lover, but the rumors of the Virgin Queen’s harlotry were most likely the invention of Philip of Spain and other nobility in Catholic Europe who plotted endlessly against her because she chose to adopt her father’s protestant Anglican religion instead of returning England to Catholicism like her half-sister Mary before her.  Elizabeth’s personal integrity may not have been perfect, but the love she bore for young Edward was probably not the improper kind that the movie Anonymous by Roland Emmerich suggested.

But even though de Vere was born lucky, I would not say he was particularly lucky in life.  He was only twelve when his father (though having completed his will) died.  The result being that he was made ward to Queen Elizabeth herself.  She was not exactly the foster-mother type, however.  She sent the boy to be raised in the home of her Secretary of State and chief adviser, William Cecil (later made Lord Baron Burghley).  Meanwhile Elizabeth took possession of some of his estates in payment for the wardship and bestowed them on Robert Dudley (her childhood friend and probable one true love, though he was married to someone else).  Young Edward was a difficult student.  His tutor, the famous scholar Laurence Nowell, resigned in frustration, probably because the boy was too bright and far-reaching for the antiquarian scholar to deal with, possibly himself being a bit dumber than advertised.   Edward quickly developed a reputation for love poetry at Elizabeth’s royal court.  He was a gifted, though somewhat conflicted, prodigy.

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William Cecil, 1st Baron Burghley

And here is what I find most fascinating about his life story.  As you reread it, keeping the works of Shakespeare in mind, you begin to see Shakespeare’s source material coming to life.  Edward would end up marrying Cecil’s young daughter Anne, so that Lord Burghley was not only a man who raised him, but also his father-in-law.  But marrying off your offspring to nobility was an accepted manner of social climbing, and Cecil wasn’t entirely sure he couldn’t do better for his daughter.  And the meddlesome, lecturing, and self-righteous nature of the man comes out in Shakespearean characters like Polonius in Hamlet who spies upon the suicidal prince because he fears the effect Hamlet’s love for his daughter Ophelia might have on her reputation, causing him to spout all manner of cliches and stuffy, self-important advice.

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Robert Cecil, Lord Salisbury

Cecil’s son Robert, the hunchbacked boy who grows up to take over his father’s office as adviser to both Elizabeth and James I, is a crafty statesman and plotter who is the undoing of the Earl of Essex in a real-life plot against the throne of Elizabeth.  It is hard not to read about his real-life exploits without seeing the connections to Iago in Othello and the conniving hunchback Richard III.

So, once again I have overshot my target length in this essay because I get so wound up in the details of my discoveries.  There are numerous things written and published about the connections between de Vere and the Bard himself.  I have only begun to scratch the surface in this telling of it.  But I am just a fool with a humor blog.  If it interests you at all, I encourage you to go to as many of the available sources as you can possibly google.  I haven’t yet finished doing that myself.  And I do hope I haven’t told anything here that makes Shakespeare turn over in his grave (if, indeed, a grave could ever really hold him.)

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The Oxford Obfuscation

queen-elizabeth-iIf you are going to entertain a completely absurd notion like, “Shakespeare wasn’t really written by Shakespeare”, then you have to have some knowledge of the times and the context within which such a profoundly counter-intuitive thing could possibly be true.  And it also helps to understand more precisely what the “writing of Shakespeare” actually means.  Now, I know it is not particularly fair to confuse you, dear reader, right before I try to dazzle you with my complicated and over-thunk lackwit conspiracy theory, but that is, after all, what obfuscation actually means.

The plays, sonnets, and other poetry of William Shakespeare reveal the mind of a genius.  Whoever wrote the works has to be a complicated man living a complicated life.  He has to be a sensitive, empathetic, highly intelligent, observant, and troubled man.  You don’t write the dark and deeply troubled suicidal tragedy of Hamlet without ever having thought of taking your own life.  You cannot portray the madness of King Lear without ever having experienced the turmoil of the mind that threatens to tear your soul apart.  And you don’t write about the complexities of love found in As You Like It or Romeo and Juliet without ever having experienced the massive thunderstorms of the mind that go along with falling in love.  And we are talking true love, not necessarily the domestic love you have for the wife you are stuck with.   You see what I did just there?  I put you into the head of the writer, and started you thinking like you yourself are Shakespeare.  As goofy a mental gymnastic exercise as that is, bear with me and keep thinking it.

At the time of Shakespeare’s ascendancy as the Bard Laureate of English Literature, England was not a safe place to be either a noble or a playwright.  Queen Elizabeth’s mother had her head cut off for bad politics even though she was married to the King of England at the time.  Lady Jane Gray, one of Elizabeth’s predecessors, lost her head when she was no more than a sixteen-year-old girl.  During Elizabeth’s reign, one of her court favorites, Robert Devereaux, Earl of Essex, attempted to seize the queen herself after a riot fomented by a performance of Shakespeare’s play, Richard II, at which eleven of Essex’s noble supporters were said to be present stirring up the emotions of the crowd.  It was a near thing for the writer of the play (about the life of a king whose reign ended in controversy about succession and which led eventually to the War of the Roses) to escape without also being caught up in the rebellion’s failure and round of executions that separated Essex from his head.  Elizabeth banned numbers of plays with religious or political content, bans that never seemed to touch the writer of Shakespeare’s plays, even when they touched on political themes.  You didn’t have to rebel against the Queen to lose your head either.  Elizabeth was trying to reinstate Anglican Protestantism against the critical tides of Catholic Europe.  You could be banished, put to death, or impressed  by force into the English Navy for being suspected of ideas that were too Catholic.  And witchcraft, or consulting with witches, as Macbeth depicts, earned you a nice warm fire in the public square to cleanse your immortal soul.

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Edward de Vere, 17th Earl of Oxford

So, if one were to be both a playwright and a nobleman, known to and beloved by Queen Elizabeth, might there not be good reason to write under a pseudonym?  And numerous people who write about Edward de Vere mention the fact that he wrote poetry and plays, and the plays were very popular.  Some scraps of poetry by the Earl of Oxford still exist, but whatever happened to the manuscripts of his plays?  It is a conspiracy theory so delicious, that I have to take at least one more bite.  (You understand, I try to stick to a 500-word target for these posts, and even this 600+ is really too long.  So that means there has to be an Earl of Oxford Part II at least.)

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Shakespeare Knows Fools

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The fact that Shakespeare was a master of the art of creating and mocking fools does not really help decide the question of who Shakespeare really was.  A stage actor who owned a theater in Elizabethan times and apparently focused on being the bit player, the butler, the second man on the castle wall in the great plays, would certainly know enough of flim-flam, being a con man, or artfully throwing turds at kings and queens in ways that get rewarded rather than beheaded.  But a nobleman who has unpopular and unwelcome-but-probably-wise insights into the back-stabbing-goings-on of the royal court of England would equally be capable of putting the most memorable of critiques of humanity into the mouth of the fool or the clown in the great stage-play of life.  Even the most depressing and violent of the Shakespearean tragedies is enhanced and made pointed by the presence of the fool and the comic relief.  In some ways everything that Shakespeare wrote was a comedy.

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Whoever Shakespeare was, he shared Mark Twain’s overall assessment of “That damned human race” and often declared all men fools in the eyes of the playwright.  Puck’s observation on humanity is delivered about not only Bottom and the other poor players who carry on their vain attempts at performing Pyramus and Thisbe while Bottom magically wears the head of an ass, but also the easily fooled lovers who mistake their true loves for one another, and even the clueless mortal King Theseus of Athens.

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In the play within a play, Nick Bottom wants to be not only his own role, Pyramus the romantic lead, but argues that he should be Thisbe, the lion, and Pyramus all at once, making a satire of human nature and its overreaching ways that we could only pray Donald Trump will one day watch and magically understand.  In fact, Shakespeare’s entire body of work is an extended investigation of foolishness versus wisdom, and with Shakespeare, the verdict always goes to the fool.

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The plays of William Shakespeare are filled with fools doing foolish things… and fools being accidentally wise. (Think Jacques in As You Like It giving his famous “All the world’s a stage” soliloquy in which he elucidates the seven ages of man.)  There are fools too who prove to be wise.  (Think of the ironic advice given by the jester Touchstone in As You Like It, or the pithy commentary of King Lear’s fool).  The fools in Shakespeare’s work are not merely the comedy relief, but the main point that Shakespeare makes about humanity.

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Whoever the man was who wrote the plays of Shakespeare, he was someone who had a deep understanding of the basic irony underlying all of human life.  And someone with that vital sense of the bittersweet, a philosophy of life that encompasses the highest heights and lowest depths that a soul can reach, is someone who has suffered as well as known great joy, someone who has experienced loss as often as profit, and has known real love as well as real hatred.  It is the fool that Shakespeare shakes us by the neck with to make us recognize the fool in all of us which makes the plays resonate so deeply within us.  It is watching the path of the fool unfolding that makes us shake our head and say to ourselves, “Yes, that is what life is really like.”

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Mickian Fantasy Art

There is a reason why anything in my artwork starting with a rabbit is assumed to be autobiographical. I raised rabbits as a 4-H project from about the age of 10 and we kept rabbits in pens until I was finishing my undergraduate degree. (Rabbit chores fell to my little brother when I was away from home.) In many ways, I was a rabbit-man. My personal avatar as a school teacher was Reluctant Rabbit.

The panda known as Mandy in my cartoon world is an avatar of my wife, an immigrant from the Pandalore Islands.

There is often an exaggerated sense of adventure in my cartoonally weird Paffoonies, the very name of which is a fantasy word.

I have been known to actually believe gingerbread can be magical enough for gingerbread men to come to life once baked. It is the reason I bite the legs off first, so they can’t run away.

I have been known to see elves, fairies, and numerous other things that aren’t really there. In fact, a whole secret hidden kingdom of them inhabited the schoolyard in Iowa where I attended grades K through 6. They were all mostly three inches tall. The biggest ones, like dragons reaching only about six inches tall at their largest.

Of course I am afraid of death, evil, and… (shudder) mummies.
I think of art and story-telling as a form of music. I am a troubadour whose songs (like this one) are often completely silent.
My fantasy art tends to be more “comic book” than “art gallery”.

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Mickey’s Theory of Comedy

It was as a young boy traveling with heroes in spaceships across time and space that I first realized that comedy is one of the greatest powers in the galaxy. Being able to laugh at things that so cosmically clash with what you want to do and where you want to go in life makes it possible to play the idiot and not get your head actually bitten off by the giant purple moon duck that thought your spaceship was an egg and crushed it by trying to hatch it. Comedy rewrites the script of life into something you can live through and learn from and laugh about instead of getting wounded from and scarred by and made to die from.

And how do you tell if something that happens is a comedy or a tragedy?

Well, if you go by the examples of Shakespeare’s plays, it is relatively easy. A comedy may suffer from terrible mixups and conflicts that are potentially life-threatening. But the problems get sorted out and solved. And then somebody… or even everybody gets married at the end. Plus the soliloquies are mostly wordplay and ridiculous metaphors, often including bawdy and ribald humor to titillate the peasants in the pit of the theater.

Tragedies are the opposite. The conflicts, though clearly foreshadowed, are relentlessly played out… unstoppable. Characters, especially heroes, have some tragic flaw that makes their downfall inescapable. And everybody dies at the end. The stage in the concluding scenes of Hamlet runs red with imaginary blood. Simple.

‘There are many theories of humor. But of the three most common ones, let us start with Incongruous Juxtaposition Theory. That’s the one where things that don’t fit with other things are forced together. Like the giant moon duck back in the introduction that wrecked my spaceship because it thought it was an egg to hatch. Or the seven pond frogs in Hollywood who see a Frank Sinatra movie on the local drive-in’s outdoor screen, and then decide that they can sing better than Frankie, so they form a barbershop quartet and become a huge hit by singing outside the local radio station.

A second common theory is the Superiority Theory. This says we like to laugh at the clowns because they show us things to make us feel like we are better than they are. So, we laugh when they fail at the things that they try, especially if they fall and get hurt in funny ways. I am not fond of this kind of humor since it is most commonly enjoyed by bullies, jackasses, and stupid people… you know, the people that even I can feel superior to. But I have to admit that this kind of humor is funny when the clown makes the same mistakes that I have made, and I am suddenly standing in his clown shoes.

A third theory, the one most relied on by Mickey, is the Relief Theory, the one that allows us to suddenly realize how silly some of our greatest fears truly are. My fear of being chased in my dreams by a duck with teeth becomes laughable when I stop quaking long enough to realize ducks don’t have teeth… not in real life… only in dreams and Warner Brothers’ cartoons.

So, Mickey’s Theory of Comedy barely rates a thought when stacked up against the comedic products of Charlie Chaplin, the Marx Brothers, Mr. Bean, and George Carlin. But at least it’s simple.

Good comedy stories not only make you laugh a lot, but they make you cry a little too. Good comedy lets you climb inside the clown character’s skin, see the funny from the inside, and it all has a happy ending.

Good tragedy is the opposite. It makes you laugh a little, but it makes you cry a lot. You get inside the tragic heroes’ skin to suffer with them and deeply experience heartfelt hurt from the inside. And you probably get a sad or terribly earned ending.

So, there you have it. Mickey’s theory of comedy. It’s a real joke. A hootable, tootable, rhymie-timie joke. And how to make more.

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Kit Marlowe, Secret Agent

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Christopher Marlowe is often sited as the real Shakespeare, a problematic assertion given that he would’ve been forced to write a number of plays after he was dead, giving new meaning to the term “ghost writer”.  But I would like to add to the assertion that “Marlowe is NOT Shakespeare!” that I also believe he did not die as they claim that he did.  Marlowe is a fascinating character of debauchery and misbehavior, intrigue and mystery, and undeniable genius.  As a writer, he was a maverick and risk-taker, having begun the ascendance of the theatrical play as one of the heights of Elizabethan literature with his play Tamburlaine the Great, about the historical figure who rose from shepherd boy to monarch.  This play, and its sequel, Tamburlaine the Great Part II, were among the very first English plays to be written in blank verse, meaning there is a very definite connection between the style of writing established by Marlowe and the later work of Shakespeare.  It is probable that for a few years, Kit Marlowe was a member of the Gray’s Inn group along with Sir Francis Bacon and several other suspicious literary luminaries like Sir Walter Raleigh and possibly Ben Jonson.  (I have to admit at this point that if I am wrong about the Stratford guy and he did write the plays, then he was a member of this group as well, because it was not closed to commoners, only to stupid people.  The Stratford guy was in no way stupid or a villain, no matter what you may believe about the authorship question.)  But here is where the link to Shakespeare’s plays and poetry both begins and ends.  Yes, Kit Marlowe was a capable enough author to have written such sublime plays.  He has all the individual skills to make up the whole.  But if you read his masterwork, The Tragicall History of the Life and Death of Doctor Faustus, you will see that the voice, the unique literary style of the work is simply not by the same author.  Although Shakespeare revisits some of the same themes that Marlowe used in his plays, his manner of development, handling of character, style of humor, and underlying conviction in the existence of God are all different and opposed to Marlowe’s.  Marlowe is NOT Shakespeare.  Shakespeare’s works have more in common with Bacon’s than Marlowe’s.  And I have already said that, “Shakespeare is NOT Bacon… or eggs either.”  And if I said it, it must be so.  (Don’t throw eggs and tomatoes at your computer screen when you read this.  Just call me stupid and vain in the comments like everybody else does.)

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And an even more compelling reason to those of you who don’t obsess over reading Shakespeare and Marlowe and Ben Jonson is that, at the time Shakespeare’s plays were probably written, Kit Marlowe was busy either being stone cold dead, or, having faked his death, was busy being a secret agent for Queen Elizabeth.

And why would a goofball like me think that Christopher Marlowe cunningly faked his own death and went into his own thrilling quest to be like James Bond more than 300 years before Ian Fleming?  Well, because I know how to read and am not generally bright enough not to believe what others have written about him and his connections to the world of spying in Elizabethan times.

These authors have brought out the fact that Marlowe’s frequent absences from college and later public obligations coincide with things like the mysterious tutor called “Morley” who tutored Arbella, niece of Mary Queen of Scots, and a potential successor to Queen Elizabeth, in 1589.  He was also arrested in the Netherlands for allegedly counterfeiting coins related to the activities of seditious Catholics.  He was brought back to England to be dealt with by Lord Treasurer Burghley, the closest adviser to Queen Elizabeth, and was then not so much punished as let off the hook and even rewarded monetarily.  Still think he was not a spy?  Well, his demise probably came about through his relationship with Lord Francis Walsingham and his friendship with Walsingham’s son.  You see, Walsingham was Elizabeth’s “M”, leader of her spies and intelligence units.  After Walsingham died, there was deep concern that no one was still able to protect Marlowe from possible consequences of being both a homosexual and an atheist.  (Being gay was obviously not as serious a sin as atheism for which torture and death penalties lay in wait.)  It was possible that rival spies and nefarious forces could kidnap Marlowe and get information out of him that the Queen needed to be kept secret.

So, when Lord Burghley tortured Marlowe’s friend and sometime roommate, Thomas Kyd, into naming Marlowe a heretic and sending men out with a warrant to arrest Marlowe, Kit’s other friend, Thomas Walsingham probably warned Marlowe.  The bar fight that supposedly ended Marlowe’s life was witnessed by two friends of his, Nicholas Skeres and Robert Poley, both provably con men and professional liars.  The knife that stabbed him in the forehead above his right eye was wielded by Ingram Fizer, another of Marlowe’s disreputable friends, allegedly over an unpaid debt.  Fizer, of course, though he freely admitted killing Marlowe, was acquitted of the murder.  And the coroner’s report is suspect.  Rules of investigation were not followed, and the body was never independently identified by someone other than the three friends at the scene of the crime.  And the body was hastily buried before anyone else could get a close look at it.

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I am not only telling you that I believe Christopher “Kit” Marlowe was NOT Shakespeare… or eggs either (though that joke doesn’t really work here), but I believe he didn’t die the way it has been reported to us by history.  And why do I believe these things?  Because I think the story of Christopher Marlowe is a really great story, and it exists as a story whether it is historically true or not.

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