It is a fundamental resource that he uses to add a nuance of humanity to characters of all types; whether they are mythical or simply unlikely. An example of this can be seen in the story “Night Owls” where the main character is described reading “Charlotte Bronte or Jane Austen in the silent bar with (her) hair modestly piled on (her) head little curls escaping towards the lower (her) neck." She is described with words like demure with small curls or dominant and orderly. The choice of words to describe the protagonist before she tries to attract a boy is sweet and her image is improved in contrast to the next sentence when he orders the gentleman he is with to "take off his clothes". Addonizio continues to use his voice to mold and weld these characters into the situations they find themselves in, which often borders on the unreal realities collide, he uses diction to his advantage to create a blend of the two through interactive uses of concrete and abstract imagery. As he does in “The Witch's Journey,” where he describes a scene in which the prince is having breakfast as “done now mostly from advanced frowns and sullen glances” which gives an otherworldly feel to the story. It takes just enough to leave the characters (and the reader) dangling on a thin line waiting for the next sentence to dictate their fate. Should we fall into reality or come out of it? The structure of his book also exemplifies fading in and out of reality as it begins with stories more tangential to the real world and slowly dissolves into illusion halfway through the book as we read The Palace of Illusions and fades back into reality towards the end with stories like Cancer Poems and