PROLOGUE

and like loiterers

on the fringes of a fair

we ogle the unobtainable

imagined mystery

Yet away around on the far side

like the stage door

of a circus tent

is a wide wide vent in the battlements

where even elephants

waltz thru

--Lawrence Ferlinghetti; from A Coney Island of the Mind. 1958.

THE ACCOUNT

(Numbers with parentheses in bold type represent the corresponding "title"/image)

A building rests in an unremarkable setting. Its contour is composed of

standard geometric elements, or so it would appear. The aspect ratio is 1.78:1. (1)

To the side, a partially restored metal and wood vehicle stands. (2) It is uncertain if the mechanism has just come to a stop. Nothing can be discerned inside, or so it is suggested from this oblique angle. Without a clear trace of identity, it may have been a mere conveyance. (2a) Perhaps it is longtime indifference that has drawn someone to its possibility as a sanctuary. Aspect ratio is 1.85:1.

An irregular-shaped floor plan characterizes the structure's interior. (3) (4) (4a) A figure reclines in a room off to one side. (5) The figure's posture is asymmetrical. In order to establish the figure's profile, you would have to be situated in front of the wall opposite the individual. But since the light is of intense illumination, shadows render that a weak possibility unless the figure was standing. (5a)

Assuming the light will change, the figure could be faintly revealed but not necessarily recognizable. (Contrasting patterns from the exterior could easily interfere.) It is debatable what hue the corner wall is painted because that side of the room is overly luminescent. Aspect ration is 2.75:1. (6)

Through the glass of a shoji-like panel, we are offered a view of shrubs and bamboo plants in a garden of unspecified proportions. (7)

On this same wide wall, a second shoji divider is located parallel to a distressed oak door. Reflected light falling on the panel overlaps to the side and flattens on a nearby wall surface. (7)

There is enough space allowing mobility. Very little noise is heard in the room, but moving from one location to another can easily manifest sound. When the door is open, the sound may otherwise change. This oak door has accumulated what seems to be an "Old World" patina having been habitually refinished. (7)

Although uniform, the floor covering has faded and lacks any impressionable sense of texture (save for some scarring on the left). The blurred profile of a second figure is steady for the moment. The figure appears to be alerted to activity on the left. This figure could be waiting, though travel is also likely. (8) It would be difficult to turn the handle on the oak door.

Partly clothed in dusky tones, the outline of this other figure is curious. (9) A stationary object of linear proportions, though not identified, is situated nearby and could be used as a seat. (9a) (It is questionable how far the figure will move.) The exterior wall is undistinguished. (9b)

Altering an interior aisle, another stationary object is revealed. (10) Time accumulates. (10a) The first figure hesitates at a point where light and dark illumination have created a dividing line. (10b) An exact determination of the object's scale is not easily ascertained.

Considering a horizontal position--based on the height of the ceiling and elevation of the floor--the second figure ceases to mark spatial traces and pauses at a far point opposite the wall where light enters. But part of another wall interferes with an ability to determine how long it has taken the figure to move. It is unclear how prolonged the door would remain open. (11)

Having stirred earlier, a swift-moving wind is now carrying dense fog. (12)

Through an open window--mediated by a wood and rusting metal screen--conversation can be heard. The screen is adjustable and operates with optional but limited widths... (listening device)