(ABOVE: Personal interpretation of 'picture perfect' from an existing cartoon: A perfect picture is something where nothing is drawn, because there's nothing as perfect as nothingness itself)
"...and I don't need Another Kind of Green to know,
that I'm on the right side, with you..."
And that's not me. It's 'Another kind of green' by John Mayer, and though it could sound rather bland, and not unlike what every 'popstar' comes up with, a deeper look suggests that it's indeed the work of the poet that John is. I don't need to elucidate, and I certainly won't, for all that's required is a tiny little bit of knowing that you're dealing with something that's deeper than the surface. And these couple of verses are based on the concept of 'this grass is greener'. I don't think I need to say anything more than that. Here's a very similar bunch of lines, not in idea, but in structure.
that I'm on the right side, with you..."
And that's not me. It's 'Another kind of green' by John Mayer, and though it could sound rather bland, and not unlike what every 'popstar' comes up with, a deeper look suggests that it's indeed the work of the poet that John is. I don't need to elucidate, and I certainly won't, for all that's required is a tiny little bit of knowing that you're dealing with something that's deeper than the surface. And these couple of verses are based on the concept of 'this grass is greener'. I don't think I need to say anything more than that. Here's a very similar bunch of lines, not in idea, but in structure.
"Will my peek out of my picture-frame
cease in a day or a million more?
Will the drops flood to form a flare, fit
to eat through the easel of my door?
Shall I see the strangeness that seems,
without my face in a bottomless jar?
Or is there anything more bizarre,
than the very nearness of this far...?"
Needless to say, these lines are entirely mine. I wouldn't clarify or pledge that this isn't a plagiarized version of Mayer's concept, because it deals with the concept of 'Picture Perfect' (The first four lines, to be precise) just like his dealt with the 'this grass is greener' thing, and I say that I wouldn't do that because I would look like a plagiarist only to one that's blind: My intention is that I'd rather shout at loud at deaf ears than be confronted with such people.
Anyway, as I said, it's about 'picture perfect' and it's not an exaggerated version of something I feel, I'd rather call it an underplay because words are always subtler than life and anything as subtle could only be an incomplete performance. So I'm not overdoing anything, or being a 'Tragic Hero' when the situation isn't actually that bad, because it's ironical. The situation is even worse, and I'm glad I have enough in me to stack standpoints together sufficient to paint a word picture. Ok, I'm meandering from what I'm coming to say, and as I want to end this post with this paragraph, I'd explain right away (to anyone who read 'Nearness of Far'). The picture frame is the window, and the easel's my door and I'm looking out at a world that I've painted: A world where I believe that things would fall in place, but in actuality they don't and it's always me that has to make a move, and not wait for the cogs to clunk on by themselves. 'Bottomless Jar' is a reference to the eternal Beatles' number 'Eleanor Rigby' and I only used the 'jar' concept in a way of my own. 'Nearness of this far', obviously, is a reference to how I'm unable to connect with someone who's so close, and by virtue of that inability, is so distant. That's about all of it.
cease in a day or a million more?
Will the drops flood to form a flare, fit
to eat through the easel of my door?
Shall I see the strangeness that seems,
without my face in a bottomless jar?
Or is there anything more bizarre,
than the very nearness of this far...?"
Needless to say, these lines are entirely mine. I wouldn't clarify or pledge that this isn't a plagiarized version of Mayer's concept, because it deals with the concept of 'Picture Perfect' (The first four lines, to be precise) just like his dealt with the 'this grass is greener' thing, and I say that I wouldn't do that because I would look like a plagiarist only to one that's blind: My intention is that I'd rather shout at loud at deaf ears than be confronted with such people.
Anyway, as I said, it's about 'picture perfect' and it's not an exaggerated version of something I feel, I'd rather call it an underplay because words are always subtler than life and anything as subtle could only be an incomplete performance. So I'm not overdoing anything, or being a 'Tragic Hero' when the situation isn't actually that bad, because it's ironical. The situation is even worse, and I'm glad I have enough in me to stack standpoints together sufficient to paint a word picture. Ok, I'm meandering from what I'm coming to say, and as I want to end this post with this paragraph, I'd explain right away (to anyone who read 'Nearness of Far'). The picture frame is the window, and the easel's my door and I'm looking out at a world that I've painted: A world where I believe that things would fall in place, but in actuality they don't and it's always me that has to make a move, and not wait for the cogs to clunk on by themselves. 'Bottomless Jar' is a reference to the eternal Beatles' number 'Eleanor Rigby' and I only used the 'jar' concept in a way of my own. 'Nearness of this far', obviously, is a reference to how I'm unable to connect with someone who's so close, and by virtue of that inability, is so distant. That's about all of it.
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