For those of us who mingle virtually with avatars in the same room, and who embrace Twitter as meaningful and three-dimensional, I wonder: If one is not interested in Libya, or Wisconsin, or the Superbowl, or Egypt, or Planned Parenthood, or the Grammys, how do we whisper about something else? How do we tweet politely about our day when others are distraught, angry, or in need?
But here, on this earth, the seasons change. And somewhere along the way, I lost him. To this day, I don’t know how, I don’t know where, I don’t know to whom, and I don’t know why.
But all that is irrelevant, as two more summers have come and gone. The only thing important to note: He was not the one.
What have I done? Or the current question: what am I doing now? I read the passionate, desperate tweets from brave protesters on my computer screen. I am deeply inspired, I comment on other’s tweets, I share articles on Facebook. I feel like I’m participating.
But, I am not.
1. My mother and father, both born in the Philippines, move to the United States and meet one another, or
2. My mother (or father) moves to the United States, but my father (or mother) does not, or
3. Both my mother and father don’t leave the Philippines, but still meet each other, or
4. My mother and father never meet one another.
And so I walked home. Part of me had wanted to say I did yearn for a summer love affair. But if I was to have a true love affair, it was going to be with Montreal, not a man.
As a whole, The Garden of Earthly Delights is cohesive: the chaos, ultimately, makes sense. The first time I looked at it, in my art history class in high school, I was perplexed—even uneasy. Since then, this painting has become a metaphor for how I put things together, as a memoirist and thinker.