The totalizing impulse has been trained by the Descartes descendants
and most fiction: all is one and that one is then all, from the French.

Wince at the simplicity and vary the understanding, according to the
consciousness researchers who acknowledge that "know what you're 
talking about" is an absurd phrase: specifically because cause and effect
are even more vague than impressionism gets too, while not quite as
abstract as modernity's art.

The beauty of all these metaphors is their "all these" plurality;
many and many with another and is a key for many doors
or many methods to get inside without a door: be as a 
raccoon and find your way into the attic, where all that
delicious insulation and bat guano are hanging out.

It's critical to avoid becoming The Raccoon, as you'd see
in one of the stranger animated films ever made;
specific references and becoming one with one this,
these are dangerous projects that must be kept at bay
with the maintenance of narrative agility: multiplicity.