“There she is [. . . ] like an eclipse you can’t keep yourself from glancing at, though you can feel the damage accruing.”
— Christian Wiman, from “There Could Come a Cuckoo,” The Dance: Poems (Farrar, Straus, & Giroux, 2026)

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“There she is [. . . ] like an eclipse you can’t keep yourself from glancing at, though you can feel the damage accruing.”
— Christian Wiman, from “There Could Come a Cuckoo,” The Dance: Poems (Farrar, Straus, & Giroux, 2026)

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“Another life, as they say, though there is always only one, sound and mind so mysteriously aligned
one strains to tell if memory’s foghorn is real or if that’s simply the sound that memory makes.
I was not alone, that much I know, though no one was with me, gentle swells, mists tearing and repairing,
and all the fine gradations of grays like melancholy made visible, holding its holy like a secret for the end.”
— Christian Wiman, from “Prelude in Gray Major,”The Dance: Poems (Farrar, Straus, & Giroux, 2026)
Heat Lightning and a Few Fireflies, Mississippi, 9 July 2022
“I love you; I don’t know how else to begin.
How we began, though, was almost as if it were already written. The details of how we arrived
at each other, to say I love you even as we fall asleep,
to let each other’s name be the first sound we utter every morning, can only be a gift of careful construction,
a design of an elsewhere where we were already together.
Saying nothing, you make me want to live more meaningfully.
The world is so wild, beautiful, and terrifying, and everywhere we turn, a new atrocity.
Then, I close my eyes and picture joy. Among things, there is this day. Among faces,
there is yours. And I am no longer afraid.
I watch you in your own, quiet moments, and I want this life. I want this life
to be longer. All I want is more time with you.
I love you. This is the only way I know how to end.”
— Emily Jungmin Yoon, “Vow,” Find Me as the Creature I Am: Poems (Alfred A. Knopf, 2024)
“flower”
2017.6.28
#flower#flowerstagram#ig_flower#写真好きな人と繋がりたい#love#peace http://ift.tt/2qvbRfW

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“I think desire is the wrong word and love too plain, devotion too sacred.
My whole life, I think, I will use for describing you.
What do I know outside of words, which despite their history and combinations, are too few and short for this life.
I don’t know if I want heaven, but I know I want
to be where you go—”
— Emily Jungmin Yoon, from “Evolution,” Find Me as the Creature I Am: Poems (Alfred A. Knopf, 2024)
“Have we only one season? A single summer and it's all over."
— Frode Grytten, from The Ferryman and His Wife, transl. Alison McCullough (Algonquin Books, 2025)
“Just the act of falling in love was to agree to a broken heart.”
— Taylor Jenkins Reid, from Atmosphere (Ballantine Books, 2025)
Cecil B
Who knows? perhaps the same bird echoed through both of us yesterday, separate, in the evening...
— Rainer Maria Rilke, from "You Who Never Arrived," translated by Stephen Mitchell

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“There's nothing
left to hold onto. Never was. Though I felt it,
though I thought I could, though I believed
you were mine. Though I borrowed you. Though
we borrowed each other. Though we own nothing.”
— Catherine Esposito Prescott, from “Meditation on Blue,” from SUPERBLOOM (Gunpowder Press, 2026)
Everywhere you touched me,
I am tea-stained, pearl and gold, blazed
with the oil of your fingers. Everywhere you
touched me is the whole of my body. The breeze
holier than dogwood:
— Dorsey Craft, from “The Summer After You Die, I Steal a Magnolia,” Poetry (July / August, 2026)
“Night still lingers on. Not quite night, not quite dark. Even as the grey of dawn is prickled by stray dots of brightness, day has not yet quite broken: that otherworldly tinge of dusty in-betweenness stubbornly refuses to dissolve, as though as a reminder that a blur, nothing more, is what stands between life and the drift to a permanent sleep. It is the hour of melancholia, when inward clouds seep out and even the most lustrous of colours are painted dullish blue.”
— Panayotis Cacoyannis, from IMAGINING MORE and Other Stories (2026)
“Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.”
— Tennessee Williams, from The Glass Menagerie (New Directions, 1970)

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“For the loss of my life.
Sorry I was not the one you needed.
And you were never mine.”
— Thanh Dinh, dedication for Salt & Ashes: Poems from the Abyss (Writerly Publishing, 2025)
©imagemm ©Marisa Marko 2015