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                    </header>
-    <section class="prose">
+    <section class="thing prose">
    <p>This book is an exploration of life, of all possible lives that could be lived. Each of the poems contained herein have been written by a different person, with his own history, culture, and emotions. True, they are all related, but no more than any of us is related through our genetics, our shared planet, or our yearnings.</p>
    <p>Fernando Pessoa wrote poems under four different identities—he called them <em>heteronyms</em>—that were known during his lifetime, though after his death over sixty have been found and catalogued. He called them heteronyms as opposed to pseudonyms because they were much more than names he wrote under. They were truly different writing selves, concerned with different ideas and writing with different styles: Alberto Caeiro wrote pastorals; Ricardo Reis wrote more formal odes; Álvaro de Campos wrote these long, Whitman-esque pieces (one to Whitman himself); and Pessoa’s own name was used for poems that are kind of similar to all the others. It seems as though Pessoa found it inefficient to try and write everything he wanted only in his own self; rather he parceled out the different pieces and developed them into full identities, at the cost of his own: “I subsist as a kind of medium of myself, but I’m less real than the others, less substantial, less personal, and easily influenced by them all.” de Campos said of him at one point, “<a href="philosophy.html">Fernando Pessoa, strictly speaking, doesn’t exist.</a>”</p>
    <p>It’s not just Pessoa—I, strictly speaking, don’t exist, both as the specific me that writes this now and as the concept of selfhood, the ego. Heraclitus famously said that we can’t step into the <a href="mountain.html">same river</a> twice, and the fact of the matter is that we can’t occupy the same self twice. It’s constantly changing and adapting to new stimuli from the environment, from other selves, from inside itself, and each time it forms anew into something that’s never existed before. The person I am beginning a poem is a separate being than the one I am finishing a poem, and part of it is the poem I’ve written has brought forth some other dish onto the great table that is myself.</p>

diff --git a/howtoread.html b/howtoread.html index 34170b3..7fee2ad 100644 --- a/howtoread.html +++ b/howtoread.html
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24		24
25	</header>	25	</header>
26		26
27	<section class="prose">	27	<section class="thing prose">
28	<p>This book is an exploration of life, of all possible lives that could be lived. Each of the poems contained herein have been written by a different person, with his own history, culture, and emotions. True, they are all related, but no more than any of us is related through our genetics, our shared planet, or our yearnings.</p>	28	<p>This book is an exploration of life, of all possible lives that could be lived. Each of the poems contained herein have been written by a different person, with his own history, culture, and emotions. True, they are all related, but no more than any of us is related through our genetics, our shared planet, or our yearnings.</p>
29	<p>Fernando Pessoa wrote poems under four different identities—he called them <em>heteronyms</em>—that were known during his lifetime, though after his death over sixty have been found and catalogued. He called them heteronyms as opposed to pseudonyms because they were much more than names he wrote under. They were truly different writing selves, concerned with different ideas and writing with different styles: Alberto Caeiro wrote pastorals; Ricardo Reis wrote more formal odes; Álvaro de Campos wrote these long, Whitman-esque pieces (one to Whitman himself); and Pessoa’s own name was used for poems that are kind of similar to all the others. It seems as though Pessoa found it inefficient to try and write everything he wanted only in his own self; rather he parceled out the different pieces and developed them into full identities, at the cost of his own: “I subsist as a kind of medium of myself, but I’m less real than the others, less substantial, less personal, and easily influenced by them all.” de Campos said of him at one point, “<a href="philosophy.html">Fernando Pessoa, strictly speaking, doesn’t exist.</a>”</p>	29	<p>Fernando Pessoa wrote poems under four different identities—he called them <em>heteronyms</em>—that were known during his lifetime, though after his death over sixty have been found and catalogued. He called them heteronyms as opposed to pseudonyms because they were much more than names he wrote under. They were truly different writing selves, concerned with different ideas and writing with different styles: Alberto Caeiro wrote pastorals; Ricardo Reis wrote more formal odes; Álvaro de Campos wrote these long, Whitman-esque pieces (one to Whitman himself); and Pessoa’s own name was used for poems that are kind of similar to all the others. It seems as though Pessoa found it inefficient to try and write everything he wanted only in his own self; rather he parceled out the different pieces and developed them into full identities, at the cost of his own: “I subsist as a kind of medium of myself, but I’m less real than the others, less substantial, less personal, and easily influenced by them all.” de Campos said of him at one point, “<a href="philosophy.html">Fernando Pessoa, strictly speaking, doesn’t exist.</a>”</p>
30	<p>It’s not just Pessoa—I, strictly speaking, don’t exist, both as the specific me that writes this now and as the concept of selfhood, the ego. Heraclitus famously said that we can’t step into the <a href="mountain.html">same river</a> twice, and the fact of the matter is that we can’t occupy the same self twice. It’s constantly changing and adapting to new stimuli from the environment, from other selves, from inside itself, and each time it forms anew into something that’s never existed before. The person I am beginning a poem is a separate being than the one I am finishing a poem, and part of it is the poem I’ve written has brought forth some other dish onto the great table that is myself.</p>	30	<p>It’s not just Pessoa—I, strictly speaking, don’t exist, both as the specific me that writes this now and as the concept of selfhood, the ego. Heraclitus famously said that we can’t step into the <a href="mountain.html">same river</a> twice, and the fact of the matter is that we can’t occupy the same self twice. It’s constantly changing and adapting to new stimuli from the environment, from other selves, from inside itself, and each time it forms anew into something that’s never existed before. The person I am beginning a poem is a separate being than the one I am finishing a poem, and part of it is the poem I’ve written has brought forth some other dish onto the great table that is myself.</p>