passing cars illuminate the slick concrete wall

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6 thoughts on “

  1. I had to think about this image for a while. I don’t think I’ve ever seen a reflection on a concrete wall, but of course there are plenty on concrete sidewalks. I love these little word-bytes from your life. I’ve been pondering what kind of picture they paint, taken together.

    • Sometimes you see them on misty mornings, when the dew sparkles on an old highway underpass. The headlights make patterns there, and to me they tell the story of a society rushing headlong towards some sort of crash.

      • Wow. I will have to look for that. And I never thought of a crash of any kind. (Do you ever get the feeling that you may finally be using too few words?)

      • That’s a good question. I’ve come to believe that the success or failure of a poem shouldn’t be decided on the basis of whether it means the same thing to a reader as it does to me. That said, I am happier when the reader and I inhabit the same general territory of meaning, even if we’re focused on different sights.

        If I haven’t been able create that semantic space because the poem is too short, then perhaps I’m using too few words. Haiku does impose a severe restriction on length, which can be challenging when you’re trying to communicate a complex or subtle idea or image.

    • I think that the idea is in the poem by implication– slick roads, passing cars, a concrete wall– but the larger resonance of that may be personal to me. You’re right that the idea might be better captured in a longer piece. Haiku necessarily leaves much of the poem’s broader implication up to the reader.

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