from OH an essay, John Crouse & Andrew Topel

Tarzan: i think we all know more than we think we do Jane: or maybe we know we know more than we think Tarzan: or we know as much as we know Jane: & we know its enough to know as much as we do Tarzan: since this amount of knowing leaves lots of room for error & ignorance & unknowing as it is Jane: working w/ what we know, what we have, what we know we have, doesnt have to mean reader needs to know Tarzan: what i said to my wife this morning Jane: nothing against dialogue & not intending to denigrate or slight interpersonal communication Tarzan: or relationships, themselves shaped & informed by arena maneuvers & overtures, but i can make or break cases w/o chitchat Jane: if i need the white noise, the mulling & sniping & woundlicking & tears i can tune into the soap operas evening news Tarzan: puppets getting their strings pulled by culture & a hard days work ethic Jane: if the puppets must say something & if i can put words in their mouths as well as the next woman, im claiming poetic license, then Tarzan: lets have them speak in tongues, lets voice whats squelched since it aint economically feasible or sensible for them to talk that way by day Jane: it dont put bread on their tables Tarzan: it used to maybe & would, could Jane: lets have them say words that are crazy, w/o any discernable social value Tarzan: lets voice their sternums Jane: guts Tarzan: backbrains Jane: sure, we can & sit & spin & prod & pummel & protest the implications & applications & one or two stiff upper lipcations till were blue in the face Tarzan: insisting the crazy chat fly or ground or not give us the runaround Jane: we can call it this, that, the other thing, making no such claims Tarzan: wheres the breathing? Jane: do we have a pulse? Tarzan: the son of a bitch is dying on the table Jane: we going to wait to see it on the evening news?

R.
roderick, n. The art of writing purely decorative scholarly footnotes. “Of course the sixth step found in the seventh chapter of my third book, written when I was working with my first agent and fourth publishing company just as my second daughter was being born in the fifteenth state of the blessed Union, forthrightly explains this principle of roderick, which is to quote authors whose names are known widely but whose works are read seldom.” 
—Charles Boal the III. (from The Seeping Method of Lower Light Forms, or Why I Like Pickles, which consists of transrotational digressionary grammar, modal logic, and roderick.)

rombah’ka-ah’lyina, v. To entangle the topic “in such proverbial eloculative rat traps of voluminous striking hypothelization that no one could regain his senses thereafter.” —John Cese, Science in the Undertow, 1992.

rort, n. m. (1) orig. sport Carty marri giblet, or confused discourse. “Don’t talk rort.”