The road didn't curve right. The air didn't smell right. The land was tilted precariously in places that had been flat. Water was flowing down a trough in the sand from who knows where. Many of the trees looked foreign. The dry leafless limbs on the native trees had twisted inward. There were rocks in patterns, and rocks that looked as though a giant toddler had brought boulders in his pockets and dropped them every which way.
Some of the changes did make it prettier. Clusters of gerber daisies nodded in the sunlight.
The road turnoff sign suggested this was the same park she'd loved across thirty years. Why did it seem so unfamiliar?
She wanted to cry, but came down with an existential bout of hiccups instead. Where's the real park? she wanted to ask, but the staff had already called it a day and fled.
I suppose I should take it ALL in before forming co-construction thoughts; but that is not how it seems one is expected to gain ones inner impressions. I don't readily censor my instant impressions. It doesn't mean I can't reform to another view with more information.
ReplyDeleteThis time it seems there was anti-synchrony.
1)The picture comes first. I look at it first. The "springs" or "thread spools". One found the exact cross section. Marks it? Ties it together. It is central. One of them has succeeded. Saying that brings the retort, "Or is it the one that got trapped? X-ed out?". I like blues that don't hint of black, so I swim in the wave of the steps. I *really* like the way I insisted that the steps were on a straight, but wavy path. That forced me to be moving from above it on the right over to the center, horizontal (the only way for to be able to see the steps the way they are.
2) With the giddy sense of movement still with me I read the poem. It destroyed my steps assumption and reduced the picture by having it stipulated by the poem. (The retorter again, "Or did the picture come first?" My reply, "No.")
- - - - - - - - - -
As #1 faded, the poem gained in value. The more the memory fades the better the poem is.
I (still) dismiss the final paragraph.. the last two sentences. I acknowledge the sentiment, but obviously the experiencer did not view all that was seen with negative feelings. (The retorter: Were the negative feelings there all along? Or did they come only after, when the child in the experiencer longed for answers from authorities who were no longer to be had?)