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“I only ... saw you drop it ... once.” he smiled.By this time the boy’s father had made his way into the room, he walked over and shook my hand thanking me for taking the time to come see his young son. I went back to my conversation with the young boy, I began asking him questions about himself. After a few minutes, we were getting along really well, like we had known each other for a long time. I had heard his father ask his wife, if she had eaten yet today, to which she answered she had not. I turned to the two of them, catching them unaware.“Hey Mom and Dad, why don’t you two go get something to eat, Bryan and I will hang out here until you get back.” I offered.“Are you sure?” the woman asked.“Yep, we will be fine. If we get lonely, we will call in a few nurses, huh buddy?” I asked, winking at Bryan.“Yea Mom ... You guys go eat.” he laughed.His parents left the room with a bit of hesitation, we resumed our conversation quickly. In the next forty five minutes I learned the true. Director Yushida had responded to Hiro’s poetry with a creation of his own, and Hiro dedicated some time to contemplating it to ensure he understood the full meaning.three red flower petals upon a rice cakejoyous among gifts from Rokkasko midwivesbeside a long lance.The three red petals obviously meant Mitsubishi, and “rice cake” was a longstanding cultural reference to the moon. “Midwives” most likely was a reference to a famous poem about the Hiroshima bombing, while the reference to the location of Japan Nuclear Fuels Ltd. stockpile of nuclear waste seemed to confirm this connection. The mention of a “long lance,” the name used by the west to describe a famed torpedo of the Imperial Japanese Navy, suggested a potential delivery system which Hiro had earlier spoken of as a “long spear”. This interpretation of the poem provided a consistency of not only this poem, but the greater, evolving poetic discussionNuclear-armed torpedoes would certainly help give their platform punch. But.
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