Parallel Equivalencies

My reality is someone else’s ‘fantasy,’
And someone else’s truth
Is merely a ‘prejudice.’

My stories are sometimes happy,
But other times—melancholy,
And I feel guilty—
For thinking it all too deeply.

But I don’t sing sad songs,
I tell cautionary tales,
And if they’re contrary,
It’s not to harm—
But to warn.

For no one likes to be told:
“I told you so!”
Especially when it’s too late
To turn the bus back around,
While you succumb—
To your companions’ dejection.

Spanish Translation:

Mi realidad es la ‘fantasía’ de alguien más,
Y la verdad de alguien más
Es simplemente un ‘prejuicio’.

Mis rimas a veces son felices,
Pero otras veces—melancólicas,
Y me siento culpable—
Por pensar demasiado en todo.

Pero no canto canciones tristes,
Cuento historias preventivas,
Y si son contrarias,
No es para dañar—
Sino para advertir.

Porque a nadie le gusta que le digan:
“Te lo dije,”
Especialmente cuando ya es demasiado tarde
Para dar vuelta en el autobús,
Mientras sucumbes—
Al desánimo de tus compañeros.

The moral of the story is: Who is your driver and what is driving him or her? Is it Old mister conservative or miss modern liberty? Since you’re sitting at the back of the bus, you’re obviously at the driver’s mercy. But my dilemma is that even though I can see what’s going on because I’m sitting in the middle of the bus, I can’t do anything about it either because I’m caged in. Ironically, the baby boomers who are sitting in the front of the bus are not concerned because they’re okay with the “status quo”. Besides, they’ve already lived their lives, but still believe they can influence the driver if needed. They are confident that their children will be able to move up to their seats when it’s time for the “changing of the guard”. However, at the last stop, our old air-conditioned school bus was retired along with its driver. But has anybody really noticed that our new navigator is now cruising on artificial intelligence because she would rather text than drive our electric vehicle tour bus?

Essay: The concept of ‘Who is your driver and what is driving him or her?’ brings to light the idea of influence and control in our lives. This analogy of a bus driver represents the person or force that is guiding our choices and actions. The comparison between ‘old mister conservative’ and ‘miss modern liberty’ highlights the contrast between tradition and progress, authority and freedom.

Sitting at the back of the bus implies being at the mercy of the driver, symbolizing how we may feel powerless in certain situations where external factors dictate our course. Sitting in the middle of the bus signifies awareness of what is happening, yet a sense of helplessness due to being ‘caged in’. This captures the internal conflict of knowing what to do, but being unable to act on it, a predicament faced by those who feel trapped due to their position in society.

The portrayal of baby boomers at the front of the bus, content with their ‘status quo’, reflects a complacency with the current state of affairs. Their belief that they can still influence the driver, while their children move up to take their places, showcases a generational shift in perspectives and priorities.

The retirement of the old school bus and its driver signals a change in direction, a transition to a new era symbolized by the ‘new navigator’ cruising on autopilot. This shift emphasizes a detachment from active participation and engagement, as the focus shifts to convenience and technological distractions over hands-on control.

Overall, the agency, influence, and complacency in navigating life’s journey can become over whelming. It prompts reflection on who or what is driving our decisions and actions, and the implications of relinquishing control to cultural factors or illiberal democratic governance. Ultimately, it highlights the importance of self-awareness, empowerment, and active engagement in steering the course of our lives, rather than simply being passengers, to what might be our last ride.

“I don’t write my post-apocalyptic stories, because that’s what I think our future will become. I write them, so that you’ll know what future to avoid.” By: Ray Bradbury

“Though liberty is established by law, we must be vigilant, for liberty to enslave us is always present under that same liberty. Our Constitution speaks of the ‘general welfare of the people’. Under that phrase all sorts of excesses can be employed by [authoritarian] tyrants—to make us bondsmen.” By: Marcus Tullius Cicero

“The exercise of freedom will always create rebels, because that’s the origin of revolutions. We can’t have a sedentary society, just like we can’t have a perfect union. If you don’t want conflict in your family, church and state, you want fascism, and if that’s what you want, you don’t want democracy.” By: A. Freeman

“The righteous care about justice for the poor, but the wicked have no such concern. Where there is no vision, the people perish…. Many seek the ruler’s favor; but every man’s judgment comes from The Lord. There is a way that appears to be right, but in the end it leads to death. The simple believe anything, but the prudent give thought to their steps. The wise fear The Lord and shun evil, but a fool is hotheaded and yet feels secure.” Bible, Proverbs 29:7,18,26; 14:12,15,16

How the “Greater Good” is used as a tool of social control

Analysis of Identity, Perception, and the Human Experience

The poem presents a contemplative reflection on the nature of personal reality, truth, and the often painful consequences of understanding and sharing one’s innermost thoughts. Through its poignant language and structured verses, it explores themes of perception, guilt, caution, and the social dynamics of judgment and regret.

Themes and Messages

At its core, the poem grapples with the disparity between individual experience and external perceptions. The opening lines—“My reality is someone else’s ‘fantasy,’ / And someone else’s truth / Is merely a ‘prejudice’”— immediately establish a sense of alienation and relativism. The speaker recognizes that their personal experiences may be misunderstood or dismissed by others, who project their own biases and misconceptions. This highlights a fundamental human tension: the struggle to assert one’s authentic self in a world that often perceives reality through a distorted lens.

The poem then shifts to an introspective tone, emphasizing the complexity of inner life. “My stories are sometimes happy, / But other times—melancholy,” reveals the emotional oscillation inherent in genuine human experience. The speaker admits to feeling guilty for “thinking it all too deeply,” suggesting an awareness of the vulnerability involved in introspection. This guilt may stem from a fear of burdening others with personal truths or from an internal conflict about the legitimacy of one’s feelings.

A significant motif is the speaker’s choice to “not sing sad songs,” but rather “tell cautionary tales.” This distinction underscores a desire to protect others, to avoid causing harm or discomfort. The act of warning rather than sharing raw emotion demonstrates an awareness of social boundaries and a sense of responsibility to prevent others from suffering similar pains.

The concluding stanzas delve into the social repercussions of expressing candid truths. The phrase “No one likes to be told: ‘I told you so!’” encapsulates the universal aversion to perceived judgment or reproach. When combined with “it’s too late / To turn the bus back around,” the poem conveys a poignant sense of regret and helplessness—once certain truths are revealed, reversing the course of events is impossible. The final image of “succumbing— / To your companions’ dejection” evokes a collective sense of disappointment, emphasizing the loneliness that can accompany honesty or self-awareness.

Structural and Stylistic Elements

The poem’s structure—comprising short, deliberate lines—serves to emphasize key ideas and evoke a rhythmic cadence that mirrors natural speech. The use of dashes introduces pauses, allowing the reader to reflect on each thought before progressing, thus mimicking the contemplative mood of the speaker.

Repetition, particularly in phrases like “But I don’t sing sad songs,” and the use of contrasting ideas—such as warning versus harming—highlight the internal conflict between honest self-expression and social restraint. The poem’s language employs accessible yet evocative imagery, making complex emotional states relatable and vivid.

Emotional Impact and Interpretation

This poem resonates with anyone who has experienced the tension between authentic self-expression and societal expectations. It captures the vulnerability involved in sharing personal truths and the regret that can follow when those truths lead to misunderstanding or disappointment. The tone is contemplative, tinged with a sense of resignation, yet also underscores the importance of honesty—albeit with caution.

The concluding lines serve as a sobering reminder of the potential consequences of transparency in social settings. They evoke empathy for individuals who navigate the delicate balance of authenticity and self-protection, highlighting the universal human fear of rejection and the pain of missed opportunities for genuine connection.

In sum, the poem offers a nuanced meditation on the human condition—our desire to be true to ourselves, the fears that inhibit honesty, and the social realities that complicate genuine expression. Its thoughtful structure and heartfelt language invite readers to reflect on their own experiences with truth, perception, and vulnerability. Ultimately, it illuminates the profound complexity of living authentically in a world that often prefers pretense and superficiality.