It’s not that these are different: so unlike
that resemblance must be forged or forced
from two extremes. It’s not that hard to strike
agreement; one that’s logically endorsed.
The fear of difference is a sad disease,
a limiting malady; one that’s stoked
by judgement (prejudice) and jealousies:
stoked by greed; too easily provoked;
too easily given voice of reason;
dressed as patriotic (us not them).
As contrast sees many, difference sees one.
It’s from a single cell that many stem.
. Be not divided by difference, delight
. in contrast, sing of all things bold and bright.

© Tim Grace, 7 October 2012

To the reader: When an image is drained of definition we can manipulate its balance to achieve a better effect. Toggling the tonal quality adjusts the play of light and colour. Too much light and the image is saturated with colour. Any over-compensation risks distortion. The trick is to graduate changes with care so that shadows, lines and temperature strike a natural pose.

To the poet: In any act of distortion, there’s a point at which an adjustment disagrees with reality; the exaggerated affect stretches belief. Over-emphasis is the literary equivalence of photographic saturation. In concluding a sonnet there’s a risk of rising to a climactic couplet, a crescendo of pretentious agreement… “sing of all things bold and bright” may have met the tipping point?