Early on, I think Merritt was quite interested in picking out little sensory details that directly imply something more about the memory/fantasy they appear in, e.g. "no glass in the windows, and nothing moves when the wind blows" to describe a train through a barren land in Sand Dollar. The brilliance is that, apart from everything symbolic about "when I look, I'll be dancing in your eyes", it forces your mind's eye to reconstruct a whole scene, like the generating set of a group: the lovers arms holding eachother close, whirling round as one, but half too shy to lock eyes, the other indulged in fixation.
Early on, I think Merritt was quite interested in picking out little sensory details that directly imply something more about the memory/fantasy they appear in, e.g. "no glass in the windows, and nothing moves when the wind blows" to describe a train through a barren land in Sand Dollar. The brilliance is that, apart from everything symbolic about "when I look, I'll be dancing in your eyes", it forces your mind's eye to reconstruct a whole scene, like the generating set of a group: the lovers arms holding eachother close, whirling round as one, but half too shy to lock eyes, the other indulged in fixation.