South Of Someplace
Words and Thoughts, Occasionally Organized
Wednesday, May 20, 2026
The Legacy of Stephen Colbert
Thursday, January 1, 2026
New Year's Resolutions 2026
Wednesday, December 31, 2025
Farewell 2025
Crossings
Monday, December 29, 2025
Why I Quit Drinking
Holiday Humor - 2025
A Brief History of The Files
Tuesday, December 2, 2025
The Difference Between Dating and Marriage - A Guide for Men
She doesn’t want you to fix the problem.
She wants you to understand how the problem makes her feel.
She wants you to empathize with what she’s going through.
She wants to know that she can count on your emotional support while she works through this.
MARRIAGE
She wants you to fix the problem.
She’s been asking you for months, and you still haven’t fixed it.
“We’re not going to hire someone. It’s a waste of money. You need to fix it.”
“I should have married Frank,” she thinks to herself. “He would have had it fixed by now.”
“Maybe I should call Frank.”
Waiting for Godot - An Interpretation
Lucky represents the working class, the proletariat. Restricted by his oppressive employer, he remains mostly silent, but when he’s unshackled and permitted to speak, he is thoughtful and perplexingly eloquent.
Pozzo represents the bourgeoisie, the capitalists, the business owners, politicians, those with wealth and influence. He’s a larger than life figure, loud, arrogant, and pompous. He’s vain and openly seeks compliments.
Pozzo justifies his chronic mistreatment of Lucky, believing that Lucky is better off despite the harsh terms of his decades long employment. Pozzo has no respect for Lucky and no sympathy. He views his servant primarily as an asset, a commodity. He muses about “getting a good price for him” at “the market”.
Vladimir and Estragon represent us as we grapple with life’s macro decisions. What should we do? Where should we go? Should we part or stay together? Should we give up or keep going? What is there to live for?
When asked where he’s been, Estragon, who represents a subtly feminine perspective, explains that he slept in a ditch - perhaps a metaphor for “the gutter” - where he is assaulted by numerous attackers. Vladimir, who represents the masculine perspective, says, “I could have protected you.”
“No you couldn’t,” argues Estragon. “There were ten of them.”
“I could have stopped you from doing what you did,” Vladimir argues, perhaps hinting at Estragon engaging in flirtation or prostitution, or simply putting himself in a bad situation.
“I think we would be better off if we went our separate ways,” argues Estragon.
“You always say that,” Vladimir counters, “and then you come crawling back.”
Vladimir and Estragon are bewildered when Pozzo and Lucky arrive. They’re dazzled by Pozzo’s swagger and shocked by his cruelty toward Lucky. When Pozzo seems high and mighty, Estragon begs him for ten francs. Later, when misfortune befalls Pozzo and his status is reduced, Estragon won’t lift a finger to help him for less than two-hundred francs.
The name Pozzo is an interesting choice. Does it represent possibilities, i.e. entrepreneurship? Is he a poseur, one who seeks to influence others with charm and bravado? Pozzo’s eventual downfall is sudden and precipitous, yet we feel no empathy for him, only a shred of pity.
The final character to appear, the boy, represents hope and a reassuring innocence. Things may not have worked out today, but surely they will tomorrow.
Vladimir and Estragon, frustrated by the news that the boy brings, nevertheless take solace in the promise of a better tomorrow.
“Waiting for Godot,” starring Alex Winter and Keanu Reeves, is playing at the Hudson Theater in New York City.
The Legacy of Stephen Colbert
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