Born into each seed is a small anti-seed useful in case of some complete reversal: a tiny but powerful kit for adapting it to the unimaginable. If we could crack the fineness of the shell we’d see the bundled minuses stacked as in a safe, ready for use if things don’t go well.
Aria Dean argues the difficulty of black flânerie. But wandering may be utopian at levels beyond the utility. Its privilege may be, as des “gestes” artistiques, in the sphere of thought, language, and geography. A privilege that leans on a poetic, une poétique de la Relation : “l’imaginaire de mon lieu est relié à la réalité imaginaire des lieux du monde, et tout inversement.” (Édouard Glissant, Discours Antillais au Tout Monde)
Hello to the era of going to the store to buy more ice because we are running out. Hello to feelings that arrive unintroduced. Hello to the nonfunctional sprig of parsley and the game of finding meaning in coincidence.
Lawns and fields and hills and wide old velvet sleeves, green things. They stretch, fold, roll away, unfurl and calm the eye. Look lush in paintings. Battles are fought on greens. Or you could spread a meal and sup. How secretly they lie, floors of distant forests. Next comes the grave, in many a poem about green. But this is not a poem. This is a billboard for frozen green peas. Frozen green peas are good for pain.
This is my first memory:
A big room with heavy wooden tables that sat on a creaky
wood floor
A line of green shades—bankers’ lights—down the center
Heavy oak chairs that were too low or maybe I was simply
too short
For me to sit in and read
So my first book was always big
In the foyer up four steps a semi-circle desk presided
To the left side the card catalogue
On the right newspapers draped over what looked like
a quilt rack
Magazines face out from the wall
The welcoming smile of my librarian
The anticipation in my heart
All those books—another world—just waiting
At my fingertips.