Only One Travis Tea
Writing "Atlanta Nights" has changed my life, and from the many postcards I get, it has. The clear explanation for it's success is the ontological metamorphosis of modern day existence portrayed in an antediluvian aspect of phenomenological phlebotomy. I was Aristotle who said ,"Gewürztraminer Doppel Gift nicht lichen ubersetz." I took this as epistemological evidence of a choreographed heliosymmetry -- a nearly petrous montage of ecbolic premeditation, and, in the character of Yvonne, I tried to portray febrilly a moiety of the simian odontogeny of the effete manumission with ideovascular implications for 21 century stereoisomers. Further, her inuspeptic relationship with Bruce is a metaphor for the postpartum resolution of deconstructed tachylogia that has beleaguered hydrogymnastic existence at a Precambrian level and isolated the phospoaminolipidly aspect of occipitalanterior dialectics in the abalienated rubric of deoxygenated sex.
Simple, I know, but that is the reason for "Atlanta Night's" success.