One’s Master Key
Could it be…
The matinee iPhone capture,
the ballerina’s grand jeté photo,
her white sinuous grace slicing the air,
filling the audience with awe?
Perhaps it was the simplicity
of a sidewalk artist in the outdoor January,
fingerless gloves inhibited by cold,
yet allowing purpose to spring free,
a brush of color embellishing a canvas,
brightening the otherwise bleak gray
of surrounding gray-slushed streets
where winter clad pedestrians scurry by.
It could have been inside the warmer MOMA,
gazing at a child astride a bench
mesmerized before Monet's Water Lilies,
dangling feet very still,
barely touching the floor,
eyes intent,
blinking not.
Later was considered
the actor's performance,
morphing the make-believe character
into both artist and audience self-discovery,
sometimes retching,
often painful,
for three acts,
undeniable.
It might have been
the writer’s block walking home through
the night’s icy mist,
reflecting off windows up high
raining down amber light,
nudging nocturnal restlessness,
keeping insomnia alive,
yet so in need of rest,
sleep's escape ever evasive.
Or possibly climbing the four-flight walk-up,
anomaly’s reality entering fortressed walls,
an apartment’s darkness awakening connection,
beckoning different illumination,
first by moonlight,
then by mood’s flickering candle flame,
as exhaustion rests chin-to-chest above keyboard,
enigmatic meaning enjoining lucid dreams.
Was it feasible childhood reverie that did it
with its languorous persistence
only heard when giving in to sleep,
the evil cherub of infancy’s memories
spewing muffled sounds of captivity,
revisiting frayed and worn adulthood,
inspiring buried innocence to live again,
dragging growing-up-fragments forward,
ignoring yesterday’s insistent obstacles?
Or maybe…
Writer’s head jerks up.
Eyes burst open.
Fingers attack keyboard.
Monitor awakens with…
“How elusive this epiphany of truth being of simple admittance,
that one’s prison of fear shackles and chains imagination,
blindfolds creativity into solitary confinement,
nurtures self-doubt, alienation,
and exiles one into the quintessential darkness,
where manifest-love is disallowed,
and self-respect is often challenged by one’s mind-rack of torture.”
And then, there is this other side, generally based on political or religious hocus-pocus, that focuses on the underside of life, constantly wheedling out stories of deception, lies and general malfeasance that sometimes leaks over into mainstream news because it can. We must remember that what keeps newsfeeds in business is viewership. As viewers stray into the aberrant side of the news, probably for thrills, the money that supports mainstream news disappears, even though they are providing us with as much truth as they can find. But there are so many others out there with an ax to grind. Those people straying away from mainstream news may be going there, but I'm not.
So, comparing your prosetry to your leading statement, I have difficulty making the connection. This piece seems all about a very stark and realistic view of what it is like trying to be creative with little or no money in the gray dead of winter in NYC, observing everything all around down to the master key that one holds in one's hand, giving entry to a cold flat with candlelight giving illumination to a sudden creative overflow. Then again, It all could be a metaphor for the way truth is found.
Ron