The unusual and the unimaginable, encountered during an uplifted walk. A colorful set of characters, cars among mountains, and a black frame. All of these images ready to greet you in what seems to be a typical New York day. Whether it’s the all too familiar feel of parked, gridlocked cars, the eccentricity found in people, or one of the busiest routes captured in a space. Colors collide, as well as natures, and there is something produced, something captured. It is what New York is about, what New York offers a simple passerby, something way beyond grasp.
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I think the trick of revising this, if the endeavor is poetry or poetic prose, will be to zero in on, and give expression to, both “the unusual and the unimaginable” and “something produced, something captured” through a re-focusing of concrete language to let the reader know “what New York is about.” How do you do that? I would suggest, as I always suggest, to zero down on the specifics of the moment. Let the things speak. I don’t really know from this what is unusual or unimaginable or what new york is about, but if you let an image speak for the unimaginable, then the reader can focus on something. Instead of saying that people are eccentric, show people being eccentric.What happens when colors collide? show the colorful set of people. A big part of the trick follows the old adage: show don’t tell. Or at least tell by showing.