So long.
    So long to get
    where you want.

In terminal. Orcas.
    Arrived 60 minutes early.
    With advanced reservations.

To my left, a row of Plexiglas windows
like round-cornered ’60s Kodak prints
frames story panels of time held at bay.
A stoned beach bends grayly southward.
Cormorants, preenless, plume the pilings.
The apprehensive water pends the tide.

I turn to my right, and a lone mast moving
through the opposite bank of Kodak prints
tells me this is quite a different kind of story,
the type that makes you question everything:
Is the ferry creeping past a moored sailboat
or does the ketch edge past us into the strait?

I look again to the left for more of my story.
Am I departing yet? Do the cormorants drift? No.
I find, though, that I can make us appear to move
by closing just my left eye first, then just my right.
The pilings jump within the frame of reference.
I repeat this feat of time travel. They jump. Again.

Finally. No more temporizing.
    The ferry is loosed.
    I am bound to Anacortes.

I am in want of an alternate ending.
I examine that Kodak print again.
I close my right eye first. Then left.
I move the pilings back, back in time,
cram the cork back in the bottle,
force the ferry back in dock.

Just by closing
    both my eyes.
    Sheer magic.

About Greg Wright

I have worn many hats as a writer and editor over the years. Unlike my scholarly and journalistic work from the "old days" at Hollywood Jesus, Past the Popcorn, or SeaTac Blog, the writing here is of a more overtly personal and spiritual nature. I hope it provokes you as much as it provokes me.
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