It is Safe to Say We Could Both use this Fire Escape.

Magnolia Projects, art work by Bria Williams
“Let your eyelids fall,” she said, closing his eyes with her gentle fingers.
Vivian's hands smelled of faint smoke from their burning home, the stiff soil's stench rose while they had fled in desperate measures
“Can you remember?” she said. “Can you remember before the destruction?”
Jason tried to open his eyes in attempt to see Viv, but she remained calm and covered his eyes.
Could he remember what he was even like before everything was destroyed?   Before Tyler, his son,  had rebelled against him and destruction had come to a city that originally nurtured their family?
Vivian's hand fell limp, but Jason kept it near his face and kissed her fingers. With his attempt to see her once more he was broken up, her thick blond hair caked with dirt that fell off  onto to her cheek. He pushed her hair back with an unsteady hand and gazed out into a sky sliced by misery and the unknown.
“I am the city,” Viv once told him.
Only in the end would she agree to leave with him, but she hadn't decided that soon enough. The protestors and rioters had reached the walls and the city began to burn.
“I am the city.” And he was her, like what we eat we are who we love, but was left in the absence of his wife and son, what was to love?
He kissed her forehead, allowing his salty precipitation to fall upon her cheek, mixing with the clumps of soil , creating a muddy cloud instead of her blush . He closed his eyes but could still see the horror painted across the sky, he closed his eyes because the paint was appearing on his quiet wife.
“I remember,” he whispered, tightening his hand around hers. “I remember what it was like before the destruction.”
He wanted to remember more, but the heat that brought him back only pushed him further into the present
She loved their community, she loved their neighbors and she loved the blue jets that sped through the pool in the skies and the golden arcs that bounced through the reflective ponds and creeks.
He loved her and when she had wept as the guns began to fire and the walls had begun to fall, he had held her and wept with her.
 “I am the city,” she had said, “and this city is me. I was born in the creases of these clouds, I met you where the daffodils turn the meadows yellow,” she had held his cheek to keep him from turning away. “Our child was born in our home near the Sear Field Nursery. The walls, the flowers, the family heard his first cries, heard his first laugh.”
She had closed her eyes and the screams of the dying fogged the visibility of serenity .
“I remember,” he whispered, kissing her cheek. “I remember Tyler.” although it had been years since his death, Jason could still hear his laughter, his tears.
“I am the city,” she once said. And he knew then what she had meant. We are what we love. He had seen her breathing in the scent of daffodils, her eyes closed as the breeze spread the aroma. Smiling then his heart ached from the memory.

He kissed her and squeezed her hand, her fingers cool and loose in his own. He could be with his wife and his son again. All he had to do was to return to the city they had loved.

In the Defense of Dimensional Art

     For he not only interprets the historical events of the existing generation; one defining them for all eternity, he also observes interpret-able behaviors and creations of mankind into solidified representation where the past is revealed. His interpretations are the soil through which our present has grown from. I would not credit the visual artist  for their accuracy of past events, rather for their ability to capture the essence of time:therefor contributing eclectic work to excavate the past but the past does not solely rely on the previous visual works. A visual artist stems creations from the personal perspective he builds from the wooden foundation of his home as he refers to as inspiration.The creator defines the aura shaped in time through the medium of choice and manipulation of natural shapes or the use of organic forms. Art suffers not from previous work as it develops and expands the technique desired to resemble relationships and power. By the vision of Pablo Picasso's "Girl Before a Mirror," and Frederic Auguste Bartholdi's Statue of Liberty, both works of art are examples of the increased vanity in society or the earlier alliance brought between
France and the States, the creation of beauty in time for time as time.
     Religion, lines, shape, color, and the desire to record visual events are the reins on a chariot; they may call visual art by the appearance that is communicating his thought and experience. But dimensional art is drawn fine when developed by those of flawless  nature, whose product defines the criteria as concrete work, resembling a beloved bard.  For this product extends from the Earth sprouting a flower that blooms into the appearance that once existing in time but remains left to his memory, containing a sentimental connection not left only to the surface of the object than to the power radiating from it. For dimensional art derives from the internal mind of man that with holds the ability to manipulate ones stream of relation flowing from shared commonality to social norms of the era; but between the creator, the visualizer, and the observer one can only correlate the connotative aspect among the denotative intent of malleable art to extent permitted by the creator and visualizer. A creation based on the gleam of a knife, a fine edge between the two sides of the piece the relate only in that fine edge, small yet existing.
     Visual Artist are the bards that with hold through time; the knife that cuts the sandwich of humanity to reveal the inner contents in depth and detail; the material with the strength to ease the curious cat through temporary satisfaction; the personal leverage to boost himself into the mountain top through what is often only achieved after his departure.Visual Artist are the most eclectic record keepers of times past.

To Eat With Confedence.

     In Thomas Foster's How to Read Literature Like A Professor second chapter, Nice to Eat With You: Acts of Communion, stresses not only the importance of shared meals but the attitude to look at such events for symbolic or metaphorical purpose. Moving beyond religion helped me dive to a deeper understanding in the significance of eating with one another, or the meaning behind an invitation to dine together. However if that same meal where to fall through poorly those who were involved are given an admonishing outlook. But not to later be confused when Foster discusses symbolism and its lack of specific meaning, yes, the meal could have no purpose but there would not be any reason to smudge the story with useless side information irrelevant to the message. While he too advises even when writing that because you can add or use symbolic situations (specifically meals) does not make the story any better.
     Recalling back to when I read To Kill a Mockingbird, in an earlier chapter Scout brings home Walter Cunningham for lunch with her father Atticus and brother Jem. The meal goes down the drain when the close gathering becomes subject to personal uncommon preferences, such as pouring molasses on a plate of traditionally un-sweet foods. When Calpurnia takes scout into the kitchen after her incessant questions, the meal shows that the increased peace and relation will occur over time do to scout sheltered knowledge about living in terrible financial situations. After Scout has been separated from the table she understands she must apologise and interact at a different angle even though she is still just a young girl. By her attempt to make amends Water, Jem and she return to school represented an altered perspective and compassion for those one does not know.
    When I combine the concept of the word communion to that of community in relation to its denotation where communion means the sharing or exchanging of intimate thoughts and feelings,  on a mental or spiritual level, the thought of weddings comes to mind. Especially when reading The Kite Runner, Amir  the protagonist gets married to Soraya where they follow the ceremony with a reception dinner. Typically, and in The Kite Runner, when a couple is married they invite members of both families and close friends to share toast, cake, and time together. Both families unite and discuss memories, share intimate thoughts and enjoy a moment of bliss together.
     Dinner is commonly used as the communion of literary works but if one looks at the pretenses that having breakfast at ones house or meeting for lunch implies intimate or regularity of activity in a relationship. Deciding to engage in a meal displays interest and curiosity from an individual, by following though one begins the first sharing of commonality between the group. Knowing that Communion and meals coincides with one another, reading specific scenes or novels will increase my conscious search for later representation and reflection of how the interaction went and the impact it related on the the whole books collective symbolism.