To Dwell in Possibility When we were young, we thought we knew everything.

A lust for the shadows, when the moon was aglow, wed take anything. Our minds were open to what our love ould bring. !ntertwined fingers, like e"tensions of our souls, wed share everything. Together, we would light an open fire hoping to burn ourselves from this desire. #o eager to learn from what we ould be, and to let ourselves dwell in possibility. When we grew young, we learned we knew nothing, but old shadows in a dark pi ture frame, wed fear everything. Our eyes were open to, the pain that love ould bring. $earn for vows to earn, not promises to burn, wed fear diamond rings. Apart. we would light a distant fire fearing to burn ourselves from this wild desire. Afraid, wed lose our minds, hoping to never see ourselves dwelling in possibility. When we woke old, we saw we needed something. Our hands would mold to a prayer said at night for what the stars ould bring. On bended knees, our found words would finally sing. %ear disappeared with the nod of a head, wed risk everything. As one, we would light an eternal fire with love to burn ourselves with light from this white desire. And wed open our eyes to finally see ourselves forever dwelling in possibility. When we have gone away, we wont lose anything. The light fades from our eyes, but not our souls, Well keep everything. #o we rest our bodies in fields of lover to ensure our love will last lifetimes over and over. We found ourselves to be so happy to die a love rested in possibility.

Dwell in possibility& 'evision Two When we were young, we thought we knew everything. A lust for the shadows, when the moon was aglow, wed take anything. Our minds were open to what our love ould bring. !ntertwined fingers, like e"tensions of our souls, wed share everything, to dwell in possibility. When we grew young, we learned we knew nothing, but old shadows in a dark pi ture frame, wed fear everything.

Our eyes were open to, the pain that love ould bring. $earn for vows to earn, not promises to burn, wed fear diamond rings, and to dwell in possibility. When we woke old, we saw we needed something. Our hands would mold to a prayer said at night for what the stars ould bring. On bended knees, our found words would finally sing. %ear disappeared with the nod of a head, wed risk everything and forever dwell in possibility. When we have gone away, we wont lose anything. The light fades from our eyes, but not our souls, Well keep everything. #o we rest our bodies in fields of lover to ensure our love will last lifetimes over and over. We found ourselves to be so happy to die a love rested in possibility.

Dwell !n Possibility& 'evision Three !n our youth, we held hands With intertwined fingers And omnis ient eyes (usting for the shadows The moon asts at night. !n the dark we stru k a mat h To light a fire. Wat hing the flames fli ker With a wild fero ity That we grew to no longer know.

The rain eventually poured from the heavens )aking the bark wet and fire e"tinguished. We would avoid the flame %earing to burn ourselves. The shadows of the dark reminded us of Oil marks in a dark pi ture frame And a wine*stained arpet that #melled of whiskey and bourbon. When we woke old We let the light sink into the walls Painting shadows of you oking on a gas stove And me drinking a blonde roast. $ou asked me what my favorite flower was As ! stared out into the land That stret hed out endlessly !n a never ending field of lover.

Dwell !n Possibility& 'evision %our !n the dark night We held hands With intertwined fingers And omnis ient eyes. With nervous hands we stru k a mat h To light a fire And wat hed the light fli ker with wild fero ity +efore the rain e"tinguished the flame. The wet bark refused to set abla,e And we feared to burn ourselves anyways. The lingering dark reminded us of )issing oil marks in an empty pi ture frame And the laustrophobi room That smelt of whiskey and bourbon. )orning broke and the light finally sunk into the walls. Our shadows dan ed on the wall As you ooked and ! drank a blonde roast.

$ou asked me about my days plans As ! stared out into the golden lit %ields of endless lover.

Dwell !n Possibility& 'evision %ive !n the middle of the night We laid apart with omnis ient eyes. The lingering dark reminded us of A wine*stained arpet !n a laustrophobi room That smelt of bourbon and whiskey. When morning broke And the light finally #unk into the walls, Our shadows dan ed On the layer of white As you ooked breakfast And ! drank a blonde roast. $ou asked me about my days plans As ! looked out to the stret hed earth And wat hed the golden flakes of light Dan e on the fields of lover.

This poem was the first poem ! wrote for the lass, with the intention of reating a narrative poem. While at the time ! might of thought it to be a masterpie e, looking ba k on it now, ! laugh at how amateur the poem sounds and reads. This is definitely one of those poems that you write thinking its ama,ing, but you grow out of, oming to the reali,ation that it is far less than that ama,ing you were so onfidant of the month before. This poem proved to be a huge hallenge to me be ause ! reated the fundamentals of the poem on abstra t on epts and sto k images. -"amples of this are seen in the poem through use of words and images like mind and soul. The poem doesnt even make it past the first stan,a without referen ing the moon and linking it to some romanti notion that while at the time may have seemed like a love poem written by the gods themselves, now seems like a terrible ompilation of .i holas #parks formula and vampire roman e novels. !n attempts to slowly grow away from these sto k images, ! took advantage of ea h draft to slowly hisel away the abstra tions and repla e them with on rete substitutes. %irst ! took out the repetitive stan,as about lighting a mat h that was meant to represent sparking a love strong enough to reate a large fire. This made the poem read more like a song and was seeping with e" ess stan,as and lines that were overall unne essary to the point of the poem. ! also attempted to e"plore the different stan,as and line variations. !n the first revision, ! made the entire poem one stan,a. /owever, this made the poem read too fast and seem all mashed together. With the ontent of the poem being what it is, the poem needed to be broken down and read slow so that the reader ould truly understand it. -ventually, my drafts took a different dire tion and they no longer were relying on sto k images of the moon and love. The poem be ome more of a s ene that starts at night and ends in the morning with the speaker looking out at the sun rising over a beautiful field of lovers. !nstead of relying on overused images, ! used images of 0A wine*stained arpet, in a laustrophobi room that smelt of bourbon and whiskey.1 +y the fifth revision ! had ondensed the poem signifi antly, shortening it by taking out the unne essary e" ess and repla ing it with only what was needed. ! even used the last revision to see how short ! ould make it, while still relatively staying true to the words and overall ontent of the poem. !n doing this, it is interesting to ompare the two poems together to e"amine where the strength and weakness apply. This allows someone to determine what is ne essary to keep and what is not. Overall it is definitely interesting to see the progress and development that ! have made as a poet this semester.