Lines 1–6
It seems at first that the speaker is missing his father because he expresses a wish to say things to him. However, in line 3, it becomes apparent that it is his father’s voice the son misses. He remembers it as a physical thing coming from his father’s body. His father’s voice becomes through the image of his “chest” a solid physical entity stronger than that “thin chest.”

Line 7
This line provides a powerful transition between the two stanzas. The father’s voice in the first stanza is speaking to his son, and what is to follow is the persona’s “song” to his father, the poem that tells the story developed out of the memories. The two words, however, “son” and “song,” by their closeness to one another in sound and sight, communicate that the persona himself understands that he is, in a way, his father’s “song” by being his “son.”

Lines 8–10
The storytelling technique of repetition functions in an almost incantatory fashion here to lead readers into a place where memory is real. Lines 8 and 9 both begin “We planted,” and lines 9 and 10 play on the word “time.”

It is characteristic of the oral storytelling mode that the teller talk his or her way into the tale, not leaving out the steps to getting there. Western storytelling, in contrast, generally values a more finished story product. Readers follow the persona in this poem through the general statement of line 8, to an explanation that this planting was one of many plantings, finally closing in on the one particular story or memory he wants to relate.

Lines 11–12
There is a digression here, as there often is in the rhythms of natural conversation. The persona is telling the story to the reader in line 11 but almost addressing his comment to his father in line 12. The rhymed couplet at the conclusion of the stanza emphasizes the tactile image of the sand.

Lines 13–17
The image of the sand brings the persona to the beginning point of the story, which is signalled by the stanza break. The father bends over...

(The entire section is 876 words.)