Two roads diverged in a yellow wood,And sorry I could not travel both
I think the two roads symbolize the choice we all face in life - one may be destiny and the other fate, but no matter which we choose , it leads us to a certain way of living and becoming ourselves.
Whatever she planted grew as if by magic, and her fame as a grower of .flowers spread over three counties. Because of her creativity with her flow-ers, even my memories of poverty are seen through a screen of blooms-sun-flowers, petunias, roses, dahlias, forsythia, spirea, delphiniums, verbena ...and on and on.
Her mother's garden symbolizes suppressed female creativity-beauty and art growing from struggle, like magic.
For it needs little skill and psychology to be sure that a highlygifted girl who had tried to use her gift for poetry would have been sothwarted and hindered by contrary instincts [add "chains, guns, the lash, theownership of one's body by someone else, submission to an alien religion"Lthat she must have lost her health and sanity to a certainty."
Society once saw creative women as "mad", but their so-called madness is actually passion, vision and art.
And now: it is easy to forget what I came for among so many who have always lived here
I think when she says it's easy to forget what she came for, it;s because there's so much to take in down there ; not just the wounds and broken things, but also strange , hauntingly beautiful details that make you want to stay and wander.Tat's why there seem to be people who have 'always lived here' - they've settles among the ruins, maybe trapped by it or maybe finding a kind of comfort in it.
We are, I am, you are by cowardice or courage the one who find our way back to this scene carrying a knife, a camera a book of myths in which our names do not appear.
I think this is powerful because it shows that we are all part of this search. Even if our names weren't written in the old stories, we can still go down there and see the wreck for ourselves. I think the wreck here might be our traumas or things we try to forgetting. this line is really deep
the drowned face always staring toward the sun the evidence of damage worn by salt and sway into this threadbare beauty the ribs of the disaster curving their assertion among the tentative haunters.
I love how she describes the wreck so vividly that we can picture it. it makes me think of the dark times in our own lives when we wanted to reach the sunlight so badly. some things we believed would last forever ended up drifting into the 'ocean of lost memories' I especially like the part about the ribs, it feels like those old hurts we try to ignore, but every now and then they poke us again. we can't really erase them ;we just learn to move around them, like tentative haunters of our own past.
There is a ladder. The ladder is always there hanging innocently close to the side of the schooner. We know what it is for, we who have used it
the ladder is a symbol of a way into depths of history/memory, but here she wrote 'we who have used it' implying that not everybody chooses descend..Only the ones who choose to climb down can really start to face themselves and hidden truths.
First having read the book of myths, and loaded the camera, and checked the edge of the knife-blade,
this represents the conscious effort to go beyond the surface stories 'myths' and confront the deeper, often hidden realities 'the wreck'
I am having to do this not like Cousteau with his assiduous team aboard the sun-flooded schooner but here alone.
unlike heroic male explorers, the speaker dives alone leads to feminist emphasis on personal, solitary quest
https://www.theparrotandtheigloo.com/
The endnotes missing from the book.
In Frankreich ersetzt die Eisenbahn auf Inlandsstrecken zunehmend das Flugzeug. Flüge sind verboten, wenn eine Eisenbahnverbindung unter 2:30 Stunden Dauer möglich ist. Da die Fahrpreise abhängig von der Zahl der NutzerInnen bestimmt werden, werden bestimmte Verbindungen für viele unerschwinglich. https://www.liberation.fr/economie/transition-ecologique-en-concurrence-avec-lavion-le-ferroviaire-espere-ramener-les-passagers-sur-terre-20231021_PF5A4OJLS5HAVBNZHMIJ52NHII/
https://en.wikipedia.org/wiki/Shmita
During shmita, the land is left to lie fallow and all agricultural activity, including plowing, planting, pruning and harvesting, is forbidden by halakha (Jewish law).
The sabbath year (shmita; Hebrew: שמיטה, literally "release"), also called the sabbatical year or shǝvi'it (שביעית, literally "seventh"), or "Sabbath of The Land", is the seventh year of the seven-year agricultural cycle mandated by the Torah in the Land of Israel and is observed in Judaism.