Sta.sh
"And when you leave us," you ask me, "where will we go to find you?"
When I'm gone, I will come back to you in a myriad of things. From my flesh there will be grass, from my bones there will be trees. I will be there in the earth, in the sunshine, in the sea. Countless grains of me will tango with the snowflakes in the wind, mingling with your hair, caressing your skin. The butterfly that grazed your fingertip, that is where I will be. The deer that escaped from the corner of your vision, that too was me. I will be at the edge of the sky and at the corners of the earth. Look, and you will find me here, there, and everywhere.
"But we call out to you," you say, "yet you do not respond."
Hush. Do you hear the swooshing gentle waves? That is my murmur. And the whispering leaves as they sway? That is my calling back to you. My voice may be wordless and I may no longer speak your language, but the sound I make will resonate with the strumming of your heartstrings. Call my name and you will hear a myriad of songs, a chorus of responses, all of which is me saying to you,
"Hey, I was never gone."
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So beeeeeeeutiful!
Let me start at the beginning, in an attempt to muddle through this critique with my own clumsy interpretation (and I wouldn't be surprised to find it quite wrong).
Here, and everywhere begins with a first-person narrative point of view, and while this is quite familiar, it soon moves onto the writer addressing the reader as "you". This immediately engages the reader, and pulls in their attention; then the next phrase, a "myriad of things", brings to mind the image of tangled and intricate matters.
Then the sensory imagery begins, with descriptions from the deviant that are touched with a hint of wistfulness. The use of the word "tango" is cleverly added to add positive connotations to the piece, but the image of the narrator alone at the "edge of the sky and at the corners of the earth" brings a sense of melancholy to the reader.
The unique point of view is once again brought into play with the quotations in the middle of the piece, and the narrator interacts with the reader via the paragraph after, which emphasizes a sense of surrealism.
"Hey, I was never gone" is the last line, and adds the perfect touch of playfulness, wrapping up the piece perfectly. A well-written, well-thought-out piece, and one that is infinitely more expressive in its coherent, concise lines than it would be in a long and poetic piece.
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