... in 1957-58 in Paris things burst and opened, and I said, "I will just let the lines go with the rhythm I have within me, my own sound, that would work, and it worked." In "Marriage" there was hardly any change--there are long lines, but they just flow, like a musical thing within me. I could do that much better than so-called eye forms, forms that you could see with your eye. (125)