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A brief opening fragment links departure from a log cabin to the charged image of a white moth.

The fragment feels like an entry point into memory rather than a finished scene. Domestic departure, time spent in a cabin, and the moth image establish the collection's habit of turning a small observed object into a sign of pressure or importance.

A two-line fragment turns the act of leaving a log cabin after a year and a half into a question of what mattered: not the departure, but the white moth.

The page insists on rescaling significance - the important thing was not the leaving but the moth. This move, where a small living creature is held up against a large life event, recurs across the collection as the speaker's characteristic way of locating what is real. The white moth's particular whiteness may connect to the mountain imagery that runs elsewhere in the manuscript.