Seven Years We Met

With "remnants", I wanted to play with the psycho-epistemological process involved in experiencing the written word. In literary arts, the process goes from perception, to the conceptual grasp, to appraisal, and then to emotion. Music, on the other hand, operates as if in reverse; from perception directly to emotion, and only then to appraisal and conceptual grasp. Could this sequence be replicated in poetry? "For seven years we met At one or another wall; beer perfumed LES brick or don’t-touch-me white MoMA plaster between a pocketful of grass and a plasticity test of the law, depending on the hour. 

 We played the game of freedom, but he was the first
to teach me the rules:

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