Only One Travis Tea
I just heard that someone got on Amazon.com and put up a lot of insulting "reviews" of writer's books. Using my name!!! I just wanted to ensure all my fans that it wasn't me bashing them. I know how terrible is it to have to read some ignorant jerk saying bad things about your book. Someone once even called part of mine "nonsensical"!! He was just jealous, of course -- nothing I write is nonsensical. And now, someone is trying to discredit me by pretending to be myself. But that just an imposter. There is only one Travis Tea! Accept no substitutes.
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.
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.