On the long continuous bench in Audobon park, New Orleans, I sat watching the Siren statue. Her hand high with proud strength of her metallic near-immortality. Her cherub children sitting on bronze turtles, holding separate items of ritual in their hands, perhaps a conch, perhaps a lute. As the Siren stood on her globe, a murky green orb of a thing, there were lovers and birds, children and historians with photographic memories in their voguishly composed hands, crouching, cropping, and framing images as infinite as the bronze statues.
I wondered.
If our memories were as sound as granite, and our hearts as pure as the water that froths at a Siren’s feet, would we enjoy and enjoin our attempts, our passions, to act as our own scaffolding to our existence? Would we appreciate the small things, pleasures of love, photographs and amazement that only those bound to and cursed by time could possibly appreciate? Have you actually seen the faces of these bronze castings, once earthly golden in hue, but now terrorized with their own emblems of decay in sheen of turquoise tarnish? Those smiles of the Siren on her globe, her frolicking cherub chums with eternal infantile fists and oceanic paraphernalia, are not the smiles we should ever want to understand.
There was a breeze.
Somewhere in the leaves of an old photo album, across the globe beneath the Siren’s feet, sits an island I call home. Amongst them, the photos of the young boy who always questioned and liked answers all the same now was by and beside himself. His smile eternally saved for the memories of souls yet to come, and no less by the loving eyes of a mother, with voguishly composed hands.