Kelsey Grammer

She was willing to let me fall into the grief, as I did a few times, and re-experience the loss and go so deep into a sort of a... because the grief was revivified too, you know what I mean? Yes. I went back in time, back in moments, back in time, moments of my childhood that I hadn't remembered for a long time.

And I was fully in them, so she was missing me during that time, but willing to accept that and allow me to take the journey. And that's what was remarkable.

And I was fully in them, so she was missing me during that time, but willing to accept that and allow me to take the journey. And that's what was remarkable.

I didn't know how I was going to do it when I started. But I did have this sense that as it became a book, in the first couple of days of doing writing, the first day I wrote, I wrote about just a page and a half. And I realized then, I thought, oh, I think this is a book. This is a real book. And then I thought that I...

I didn't know how I was going to do it when I started. But I did have this sense that as it became a book, in the first couple of days of doing writing, the first day I wrote, I wrote about just a page and a half. And I realized then, I thought, oh, I think this is a book. This is a real book. And then I thought that I...

I had to take people with me, that they had to be invited along for the ride. And my obligation to them was to point the way back to things that I had known and learned and that would hopefully agitate their imagination enough to say, oh, yeah, I've lived that way. I've had that moment. So that we were on the trip together. So instead of holding just Karen's hand, I was holding the reader's hand.

I had to take people with me, that they had to be invited along for the ride. And my obligation to them was to point the way back to things that I had known and learned and that would hopefully agitate their imagination enough to say, oh, yeah, I've lived that way. I've had that moment. So that we were on the trip together. So instead of holding just Karen's hand, I was holding the reader's hand.

At one point in the book, I even write a letter to the reader. With the sort of the understanding that they might actually not want to finish the journey. But, you know, so far this is where we've gone. I hope you're with me still. If you want to put the book down now, that's okay. But I said, we have some things to do still. I have some places I have to go. And I have you now. I have you with me.

At one point in the book, I even write a letter to the reader. With the sort of the understanding that they might actually not want to finish the journey. But, you know, so far this is where we've gone. I hope you're with me still. If you want to put the book down now, that's okay. But I said, we have some things to do still. I have some places I have to go. And I have you now. I have you with me.

And so it was a very direct address kind of thing. There's a conceit about Henry Fielding who wrote Tom Jones. When I read Tom Jones, I was 18 years old. I was riding the subway all the time and I was laughing out loud at it.

And so it was a very direct address kind of thing. There's a conceit about Henry Fielding who wrote Tom Jones. When I read Tom Jones, I was 18 years old. I was riding the subway all the time and I was laughing out loud at it.

And I thought, what a wonderful gift from 200 years previous from this guy who had the arrogance or just the confidence to say, this is probably the best book you'll ever read in your life. He says it right there, right out. And I thought, that's what I want to have. I want to establish that kind of a relationship with whoever might be reading the book at the time and say, it's us together.

And I thought, what a wonderful gift from 200 years previous from this guy who had the arrogance or just the confidence to say, this is probably the best book you'll ever read in your life. He says it right there, right out. And I thought, that's what I want to have. I want to establish that kind of a relationship with whoever might be reading the book at the time and say, it's us together.

I know you're there. And I'm with you. You're with me. Let's go do this. And that arrived, I don't know, 60, 70 pages into the book when I suddenly thought, OK, I got to explain this about Henry Fielding. So he's in there. You can blame him if you want to.

I know you're there. And I'm with you. You're with me. Let's go do this. And that arrived, I don't know, 60, 70 pages into the book when I suddenly thought, OK, I got to explain this about Henry Fielding. So he's in there. You can blame him if you want to.

It was a nice device, but it also, it sort of, it got rid of the idea that there was any distance between us, between my telling of the story and the reader. And it will always be in an immediate sense. The time collapses into the book, and there is no time in it. There is no chronology, but there is the sort of, but whatever, you bounce from one place to the next. Like life is just a bauble.

It was a nice device, but it also, it sort of, it got rid of the idea that there was any distance between us, between my telling of the story and the reader. And it will always be in an immediate sense. The time collapses into the book, and there is no time in it. There is no chronology, but there is the sort of, but whatever, you bounce from one place to the next. Like life is just a bauble.

You can just say, I'm going from here to there. I'm going to South America right now. I'm going to go back to Southern California. And you just take them with you.

You can just say, I'm going from here to there. I'm going to South America right now. I'm going to go back to Southern California. And you just take them with you.

Yeah, I think it is.