mmmarilyn;

a big-city fairy tale.

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monday, august 28, 2006.

About ten hours into a journey across an incomprehensible distance, already past a large chunk of the meadows and woods, most of the trampolines behind trailers I think, some amount of the small city halls, libraries, community centers, all of the southern churches with whitewashed siding. It was a good thing that I ended up taking this route, gasping as a flock of birds swerved all alike through a steelyard, as a huge river opened up underneath me, as a quaint historic downtown strip featured a ramshackle New York Hi Fashion back in Rocky Mount, North Carolina. It has made the distance more—and then less—realizable. Even moreso that driving—which is primarily interstate driving in my travails—the land you've passed is so tangibly real chunks of space: two old men on their porch, a tree house left open like a cross section facing the train tracks (sparking the story wisps of a boy who grew up able to sit & watch the trains go by, perhaps dreaming of the other places they came from and went to, very distant from his life and his neighborhood, but more likely loving the train more abstractly, as all little boys love trucks, trains, big things that make noise, and gaining some sort of relief and appeasement as he sat and his treehouse rumbled, as he watched complacent strangers' faces flash by, more people on each passing passenger train than the population of the town he lives in, and he likes something about glimpsing a speck of these people's lives... it is only once he is old enough—but not quite old enough—to bring girls to his tiny secret spot that he realizes that sometimes they are taking away a snippet of something that is his), a school bus rotting in a backyard, filled with old rotting junk that was once just being put there for safekeeping. These are components that lives revolve around, that we come to be made from. It slowly and subtly highlights the magnitude of choices that lie in between lives that seem fated to follow a path set & chosen without input from the participants—scripts that can so easily be thrown out, but rarely are because it seems so irresponsible to do so, because the unknown could be better, but the chance that it could be worse is pitiful.

Though.

The unknown is addictive. And it is terrifying and maybe there will be a reward commensurate with the risk. So that once you begin you wonder, you begin to wonder, if you have anything left to lose.

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