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This Summer I have been commenting on the Collections of Noble Bandit. What started as a small curiosity has turned into a fascination for me. In this meeting, I wanted to know how much of the poet's work was factually-based and did her imagination alter these experiences?

During our interview, we discussed "Brand New Day" which she wrote in March of this year. She described it to be an abstraction of an event that had true meaning. She explains, "it was love at first dive."

"Brand New Day"

I sensed a change was on the way
When you visited me yesterday
Fair-haired Super Hero version
Boundless on the ocean barren
...Hm...yes, supernatural
The whole of him so visible
- Tell me, Sir...
Without a word
In any incarnation
Completely away from anyone
- Don't try to keep me
To put it more strongly
A certain unease
Such lines as these
I didn't object
Broken gasps, and yet
What else could I do?
Heavenly vision
That was it, it seems
He walked along the beach
By the setting sun
He stared back again
'Till only a shaft of light
Keep thinking all night
Oh perfect creature, gallant lad
That's all. He had been a God

She tells of a visit with an 'ocean gentleman' who had returned  from half way around the world and imagines herself together with him in this exotic ocean paradise. She's enraptured with this young man who spends his days in the watery underworld descending into dark caves and caverns...hundreds of bubbles boiling to the surface. Jagged rocks and harrowing moments two hundred feet below....

In this work, she's visualizing the mental landscape, the emotion into the dark...but the crystal clear waters above bring her to self and sensibility.   S. L. Newman's interest in 'water' and the 'supernatural' shows she wrote "Brand New Day" with much more in mind than a single event. 

Her dreams, her thoughts, come into focus when she, the speaker, states in the sixth line, "the whole of him so visible."  Following this, the poem tries to sort out, is this man real or imaginary?

"Don't try to keep me" gives it away. As the speaker studies this, it becomes clear, he is just imaginary. (Perhaps, in reality, he was real, but just for a night. She's angered and hurt by this and so categorizes him as imaginary.)

In newer works, S. L. Newman continues recollecting and connecting with the illusory and the factual and asks the reader to observe. Can you envision something?

She has written two collections, thus far, and is now working on her third.

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