Limón compares the “cherry limbs” (Line 3) of the “crabapple tree” (Line 2) to confections, particularly “cotton candy” (Line 4) and “taffy” (Line 7). These descriptions give a sense of the blossoms’ specific pink hue. However, these descriptions also invoke concoctions that are made by pulling or spinning. The poem is about the pull of contrasting emotions of despair and resilience, so this is effective in subtly enhancing that message. Further, both desserts’ high sugar concentration makes them insubstantial sources of nourishment. This enhances the poem’s other images of a frivolity, such as costume jewelry—“baubles and trinkets” (Line 7)—and scraps of celebratory paper—“confetti” (Line 8 (the name of which is even the Italian word for sweets, tying back to the confection motif). All this aids in revealing the steady “tree” (Line 13) and its “new leaf” (Line 13) as much more valuable.

Rarely are beautiful flowers associated with violence. However, having gone through a difficult time but now reengaging with the world, the poet finds its brash brightness startling. Limón uses the motif of violence throughout the poem’s beginning so that the final image of tolerance—“an open palm” (Line 14)—has greater weight. At the start, the “fuchsia funnels” (Line 1) are “breaking out” (Line 1), suggesting some sort of rupture.