The Inverted Crocus is more than the inner world, it is one's journey inward. It is both the creation/discovery of the interior and its decoration. It is the path one travels to the Next Level, and the scenery along the way.
Upon its fragility is the stem of the physical, but this wall is made of only petals. Cast aside the stem that weighs it down. Smell the fragrance from inside.
The petal opens wide from the individual river to the ocean of petals, the churning of the infinite consciousness. Although its petals mingle and, someday, fall away, it is always one crocus, inverted, inside the seed, the stem, growing inward, down into itself.
At first, the would-be gardener learns to see his own flower. Her internal landscape opens up to him. Given time and will, all aspects of her experience, personality, and potential may be seen and interacted with in a conceptional/physical form. Each gardener has its own landscape particular to him. A rock, in this place, is not a rock, but a marionette of a rock manipulated, not by an extra-dimensional puppeteer, but, perhaps, by the gardener's concept of permanence or a memory of some past concussion.
The gardener learns how to arrange this place, perhaps, placing the rock of permanence in the willow of indecision, thereby either steeling her resolve or else committing his stability to the capriciousness of whim. Or, possibly, the gardener might bury a concussive rock in soil of forgetfulness thereby sealing away a potential source for future fear.
Cohesive aspects of the gardener's personality may interact within her landscape. As no gardener is whole, the variety of component personalities that compromise to make decisions in the non-gardening individual may be interacted with consciously. Sub-committees may be formed to deal with certain mental tasks.
The gardener may also look out upon the world of the Elephant and see the stems of all the puppets- their conditions belying the condition of their hidden blooms.
Now, the Inverted Crocus in a garden upon The Mezzanine begins to bloom. In so doing, its petals touch those of the others around it. Thus, through this flower, the gardener sees the greater inner world beyond her garden gates.
The gardener may peer through the windows of nearby gardens, gaining insight and impressions into and about the personalities contained therein. She may even interact with a garden's features and personae, so long as they're near the access point.
Growth within the Inverted Crocus allows for a physical transference of body at this stage; inverting the Elephant-like form, thereby allowing the gardener to gain full access to his internal garden. The gardener may make changes to the statuary and other features. The rock of permanence from the earlier example could be changed into ground beef or a persona composed primarily of the influence of the gardener's mother could be altered to appear as an anthropomorphic squirrel. General shape, weight, and significance must remain constant, but other properties are fully available for change.
When all objects and personae may be interacted with without regard to the gardener's Elephant-like form- the bloom of the gardener may now be considered full. For instance, whereas before the gardener might move the rock of permanence as though it were a physical object in a physical place, now he may cause it to hang in the air or spin in a very impermanent fashion.
She may now step from her garden gates, via overlapping petals, into the greater garden of Inverted Crocuses, even venturing into the gardens of others. He may also, should she wish, traverse the path growing deeper within his self toward abstraction and initial impulse. Along with access to the gardens of others (the deepest innards of their puppet form,) the gardener may have the ability to shape and interact with its component features as he once could do only for her own.
Within his own garden, the gardener may create simple objects of blunt significance. A rock of permanence is a good example of such an object as it is a heavy handed metaphor and does not necessarily contain complex traits or connotations. Ironically, despite the frequent use of a rock of permanence as an example, these objects are fleeting without some portion of the Wall of the Elephant.
Existing objects and personae may be changed without abandon within a gardener's own garden. Given enough time and effort, a skilled gardener can make his garden however she likes.
It is now that the gardener may alter the gardens outside his own with the same lack of restriction that she first experienced with his own at the previous level of skill. All gardens, essentially, become her garden, to raise and cultivate as she pleases. Actually, all gardens become, in part, the gardener's garden. Although he may exercise the same amount of control as his own garden, this control is shared with others who may access that space.
In her garden, the gardener may create personae and any other sort of thing to dwell therein without regard to the original balance of internal constructs. As before, these things don't stay around for long if he doesn't know well The Elephant. Still, it can be useful for moments of social want.
The gardener may now construct and deconstruct garden gates, so to speak. This whole garden thing is something of a metaphor for each marionette of a thing's mental/spiritual space- sort of a fraying or vibration of the Strings on the way from the extra-dimensional puppeteers on the way to the Elephant-like form. Either that or the garden is an extra-dimensional puppeteer, or a forum for their Strings to communicate prior to physical expression. Anyway, the gardener may now wall off sections of the entire field of Inverted Crocuses and dub it a garden. She may also tear down the walls of another garden, which can have some rather damaging, or enlightening consequences depending on one's perspective.
As aforementioned, garden constructs and personae require The Wall of the Elephant to exist for any substantive length of time. Furthermore, the significance or weight of a given garden construct also requires portions of The Wall of the Elephant. Although the Wall of the Inverted Crocus is something of a mental discipline, memory remains the purview of the Wall of the Elephant and, so, memories may not be tapped outside of somewhat vague garden metaphor without the Elephant Wall.
Appearances of gardens and their contents require knowledge of The Spoken World to appear beyond a form that is intrinsically meaningful to the gardener. So, if a rock of permanence is to be changed into a ground beef of permanence, the gardener must either have knowledge of The Spoken World or else ground beef must represent permanence to her as much as a rock does.
The connections of any garden material to the world of the Elephant is strictly the purview of The Wall of String. So, although an accomplished gardener may create gardens, they remain unconnected to any object in the physical world without portions of other walls.
A gardener may bodily enter his garden. As the gardener moves therein, and, later, into the greater world of gardens, the gardener moves similarly in the world of the Elephant unless she possesses the ability to either stretch or disconnect that connection (via the Wall of String; this will leave the body inert) or else move his Elephant-like form bodily into her Inverted Crocus (via the Wall of the Elephant.) Using the latter method, the gardener still will project a ghosty image which moves parallel in the world of the Elephant to the gardener's travels along the Inverted Crocus unless the Wall of the Spoken World is sufficiently built to dispel the visual echo.