Four talked about the pine tree. One defined it by genus, species, and variety. One assessed its disadvantages for the lumber industry. One quoted poems about pine trees in many languages. One took root, stretched out branches, and rustled.
- The poem associates more with a narrative, linear style of writing as opposed to lyrical poetry. What's more, the lines of the piece (sentences, what-have-you) end rather abruptly- all concluding with periods.
- The poem seems very attuned with aspects of the socio-ecological; hyper-sensitive, almost, to nature as more of an intrinsic entity than an instrumental entity- appears appropriate to fall into the system of 'deep-ecology'...
- The poem offers some what clear distinctions, although the converses are unidentified, about the people and their relationship with this type of evolutionary encounter with nature through: a biological stance, through political issues, through exhibitions and displays of arts and how rhetoric and linguistics effect the perception of nature, as well as an interesting-and seemingly very different-account of the actual sustenance/core and bare nature of a "pine tree" inside of its habitat.
- The concluding line of the text appears interested in the texture of the pine- this line set apart in that there is more authenticity, a heavier sensory affect... the line exploits the concrete, begs the reader to "step into" the role of a pine, to see the nature of its essence.
- Furthermore, the concluding sentence makes the reader slow down, calling explicit attention to the shift in language and structure; emphasizing the transition process, a delicate, transgressive progress, from a scientific/political lens to a more cosmic, sublime intimacy.
- The poems seems practical and realistic in the-very brief-period of time passing from lines 1-4 (arguable five as well), and then hitting a grandeur moment of idealistic perception- an "out of body" (a body and soul, an other) experience.
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