"Lost in Translation"
Perhaps the purest example of what might be termed the artist's poetic style: seemingly random language, no characters, an emphasis on clean lines and the graphic flow from panel to panel. This has even less plot than "Happiness Is a Warm Fish" (to which it is a sort of sequel), and the language is sparer. There is space to think; each scene is an invitation to quiet obsession.
The last panel quotes from a Wallace Stevens title. Some have insisted that the strip is playing with text and pictures—that the captions for #1 and #4 have been flipped, as have those for #2 and #3 (e.g., "tiny language" refers to the chatter from the TV rather than the purl of a mountain stream). This is probably true, but it's just one of several levels on which this strip works its quiet magic. Especially good is how the artist solved the problem of night in the final box.
From The Yale Herald, February 7, 1992 (Vol. XIII, issue 4)