
Melvin Mudlicker sipped his coffee slowly as he worked the numbers on a napkin at his fifth favorite diner.
Circumstances once a week brought him to this part of town and he had grown fond of one of the attractive young waitresses who always asked how he was doing, how his business was doing and if he wanted his coffee refilled or if he wanted his usual, a turkey burger deluxe with fries, hold the pickle and tomato.
They had developed a nice rapport, rhythm and flow together.

He was a tall sheepish gentleman in his late fifties. His eyes were gentle, his chin was weak, his shoulders were starting to stoop. His legs were thin and wobbly, his hair was thinning and gray. And he walked with the hesitant stride of a crane, his head bobbing forward with every step. Watching him amble along the street, one would never guess him to be an artist. A servant, perhaps, a beggar more likely, but not an artist: a soul unencumbered by earthly snares and committed to only the Muse. But an artist he was, and no mere artist at that. He was an artist in the most gallant of mediums: the daring realm of street performance.
Everyone of us has a favourite book and no-one else might agree and that is perfectly fine.

Jack Posner, licensed clinical psychologist, PhD. from Berkeley, serviced corporate lawyers and stock and bond traders from his private plant-filled smoke-free office on the fourth floor of the Paulsen Building downtown. He consoled guilty consciences with a phrase he muttered under his breath for his own benefit as well as his clientele’s: EVERYTHING’S O.K., GO BACK TO WORK, over and over, like a Vedic hymn, until even he was fooled by it.

