Yet before the window closed, I captured that moment—a long moment of 10 years—independent of a conclusion. Observations made with wide eyes; recordings of sensations I can no longer hear, smell, and touch; a journal of our collective recklessness.
1. My mother and father, both born in the Philippines, move to the United States and meet one another, or
2. My mother (or father) moves to the United States, but my father (or mother) does not, or
3. Both my mother and father don’t leave the Philippines, but still meet each other, or
4. My mother and father never meet one another.
As a whole, The Garden of Earthly Delights is cohesive: the chaos, ultimately, makes sense. The first time I looked at it, in my art history class in high school, I was perplexed—even uneasy. Since then, this painting has become a metaphor for how I put things together, as a memoirist and thinker.