This is an apology to whatever forces might negotiate for our release, an apology for humanity, but especially for foolish men, for poor Teddy, our gardener who killed himself in our garden paradise, for the men who betray their loves (those unreachable pearls), for the drunk in the car squealing in the middle of the night.

I invoke the gods, the seagulls, women, for forgiveness.

The first section is about how we skim the surface of life, missing the deeper meanings, in this case clues of a suicide. The way Vermeer contradicts the superficial overlay of his paintings with seemingly trivial but ultimately iconic items of real life, such as a milk bottle, is the way poetry sifts through the chaos of insincere information to produce the facts that matter.

It shares Vermeer as a model with “Delft Light,” and with “Relais Louis XIII.”

The last line in the second section refers to three things at once; chaos, women, and those careless men.