I am not afraid of clowns. But there’s something that happens when you walk into the forgettable bathroom of a hotel lobby and meet a fully made-up clown standing by the sink, reflection staring back at you with the Kubrickian blankness of a greasepaint grimace.

I almost wet my pants.

Media seminar fresh in my head, I choke the gasp in my throat and try to smile. While I am going for “warm and effusive,” I’m sure my face is more a pained amalgamation of terror. I can only hope that she thinks I’m trying to be polite. I’m sure she gets it all the time.

But. There are reasons people can find clowns to be so unsettling. That makeup: white face; huge, red mouth; drawn-on smile; eyebrows that kiss the hairline. “When it’s up close, it’s the visual equivalent of being screamed at,” explains Jaron Aviv Hollander, the co-founder and artistic director of the Kinetic Arts Center in Oakland. And it’s all the big top’s fault: When a clown is standing in one of three or more rings and playing to a huge crowd, the audience needs to be able to read familiar facial landmarks in order to get the bit.

What could she be trying to communicate through all that stuff about being from the future? I asked. What about the flour she poured everywhere?

“A person in a psychotic state is trying to push their reality back into the environment,” the psychologist said, describing a theory from psychoanalyst Wilfred Bion. “In a sense, you’re holding it because she pushed it back out of herself. She put it back into your environment-whatever she was trying to express. So you’re left with it as a mystery. Everybody in proximity is left with it. Everybody who witnessed it is holding it. So the cop has to hold it. You have to hold it. Your boyfriend is trying to hold it. And it’s her trauma. It’s her experience of trying to communicate a trauma, while not necessarily being able to process it herself. So when you work with people who are psychotic, the challenging thing is you’re dealing with unspoken, often preverbal trauma that they’re not emotionally processing, so you end up holding it for them. It’s almost like they scattershot their reality at everyone. You’re left with the mystery, right? What was the powder? Why’d she go out the window like that? What’s with the white cat? We’re still in her dream with her. So in a sense”-the psychologist stopped for a moment, watching me take notes-“so in a sense, you’re writing about this because in a way she left you with all these mysteries. She left you with an unfinished dream and you’re trying to finish it for her.”

It’s impossible to know what was happening in her mind, but it’s also impossible not to wonder…

Our objectivist education, however, was not confined to lectures and books. One time, at dinner, I complained that my brother was hogging all the food.

“He’s being selfish!” I whined to my father.

“Being selfish is a good thing,” he said. “To be selfless is to deny one’s self. To be selfish is to embrace the self, and accept your wants and needs.”

It was my dad’s classic response – a grandiose philosophical answer to a simple real-world problem. But who cared about logic? All I wanted was another serving of mashed potatoes.

Hamilton made the call to police at approximately 7:30 p.m., when she discovered that the bearded cable repairman she had let into her apartment was actually Marzano in disguise.

“Thank God he’s in custody, and this nightmarish ordeal is finally over,” said Hamilton, a single mother struggling to raise an adorable, towheaded boy all alone in the big city. “I repeatedly told him I wasn’t interested, but he just kept resorting to crazier and crazier schemes to make me fall in love with him.”