loneliness, alienation, exclusion and other human odyssey that all the favorite themes found in Sam Shepard's Motel Chronicles a kind of elevation to the maximum exponent, where the writing is something that goes beyond words, because "they say that the words are incomprehensible." Then it's like looking through a window, in an eternal night that "keeps us in the light," to see someone poised on the edge of their own. The image is carved in the shadows, clear and precise: "He washed his red shirt in the sink. He spread a towel on the floor of the motel. He stretched out his shirt over the towel. While smoothing the sleeves and crossed on the belly of the shirt he thought about his own death. " It 's easy to think that the room is paid a few dollars in the same county of Paris, Texas "in" and "outside" the two extremes of significant writing Sam Shepard play of images because "every photograph is a point of view" and look at the words, rather than reading, it helps to have a lot of thoughts is that they can "call allies." Sam Shepard's writing is, especially at this stage to Motel Chronicles classical, undefined, undefined precisely because classical, classical because indefinite. The sentence construction is made one step after another, one word after another, fragments and sketches that go to join without a specific pattern, at least in appearance. It 'the expression of an impression, an emotion, the immediate and that is where it becomes explicit his congenital proximity to the language of rock'n'roll. The items are cut and assembled with a hatchet, as if Polaroid, deep and precise incisions that have the same effect as a riff in a song with you and you do not spring any more. To fix a point in the geography of life they need a line, a little less, not more: "Suddenly I was caught a terrible panic. I was between these two worlds. The world that I had left behind and this new world. I had no idea where to go. " The temporary shelters and without hearing a motel room or cabin of a car are small and ephemeral illusions because "the people here has become the people who pretend to be" and not just about Hollywood and California. It is 'out', "inside". E 'in Sam Shepard's writing and reading of the reader who asks (and answers): "What is the point where it becomes dangerous to go further? And I realized that the moment when you think of the questions were already gone too Essert there ". Out now is the desert, a place where words do not count for anything anyway because if you update the Motel Chronicles "does not change anything. You might as well not know if you really want the truth. Might as well take it as it comes. Not so hot. If I dissolve I dissolve. Period. You might as well dissolve in peace. " Reading it is like peering through a crack of light "inside" and "out" on a stupid movie "yes, but never like life."
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