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Misplaced Lens Cap

❣ Chile in a Photography ❣
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NASA
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if i look back, i am lost
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祝日 / Permanent Vacation
art blog(derogatory)

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@worldisstatic

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Miracle Fish
I used to pretend to believe in God. Mainly, I liked so much to talk to someone in the dark. Think of how far a voice must have to travel to go beyond the universe. How powerful that voice must be to get there. Once in a small chapel in Chimayo, New Mexico, I knelt in the dirt because I thought that’s what you were supposed to do. That was before I learned to harness that upward motion inside me, before I nested my head in the blood of my body. There was a sign and it said, This earth is blessed. Do not play in it. But I swear I will play on this blessed earth until I die. I relied on a Miracle Fish, once, in New York City, to tell me my fortune. That was before I knew it was my body’s water that moved it, that the massive ocean inside me was what made the fish swim. Ada Limón (2015)
from “And Then the Weather Arrives”
I don't know no one anymore who's up all night. Wouldn't it be fun to hear someone really tired come walking up your stairs and knock on your door. Come here and share the rain with me. You. Isn't it wonderful to hear the universe shudder. How old it all, everything, must be. Eileen Myles (1987)

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Kniolas Black Night
Photography by Xuebing Du
Denis Johnson, "Angels"
Raymond Carver, "Gazebo"
The new and final issue of FIELD opens with two poems I wrote, including this one, in which I love my sister dearly. I’m so grateful for the years of work that have brought 100 issues of poetry into the world. What a long and fruitful season!

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What I Didn't Know Before
was how horses simply give birth to other horses. Not a baby by any means, not a creature of liminal spaces, but already a four-legged beast hellbent on walking, scrambling after the mother. A horse gives way to another horse and then suddenly there are two horses, just like that. That’s how I loved you. You, off the long train from Red Bank carrying a coffee as big as your arm, a bag with two computers swinging in it unwieldily at your side. I remember we broke into laughter when we saw each other. What was between us wasn’t a fragile thing to be coddled, cooed over. It came out fully formed, ready to run. Ada Limón (2018)
The Poem Grace Interrupted
There once was a planet who was both
sick and beautiful. Chemicals rode through her that she did not put there. Animals drowned in her eyeballs that she did not put there— animals she could not warn against falling in because she was of them, not separable from them. Define sick, the atmosphere asked. So she tried: she made a whale on fire somehow still swimming and alive. See? she said. Like that, kind of. But the atmosphere did not understand this, so the planet progressed in her argument. She talked about the skin that snakes shed, about satellites that circled her like suitors forever yet never said a word. She talked about the shyness of large things, how a blueberry dominates the tongue that it dies on. She talked and talked and the atmosphere started nodding— you could call this a revolution, or just therapy. Meanwhile the whale spent the rest of his life burning (etc., etc., he sang a few songs). When he finally died his body, continuing to burn steadily, drifted down to the ocean floor. And although the planet had long since forgotten him—he was merely one of her many examples—he became a kind of god in the eyes of the fish that saw him as he fell. Or not a god exactly, but at least something inexplicable. Something strange and worth briefly turning your face toward.
Mikko Harvey
What’s for lunch?

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Shades of Cool: An Ode to Lana Del Rey By Caroline Cox
Lana is a mourning dove. A beautiful painting in a cheap motel. She’s an antique golden cigarette holder filled with Black-and-Milds. A muse with cherry red lips and tattooed fingers crossed behind her back.
Lana is a siren, her voice leading boys with slicked-back hair on motorcycles to crash into rocks. Lana is an acrylic nail fingering a gold chain. She’s hairspray and a pocketknife. A wink and a kiss. She is swimming naked and wrapping herself in an American flag.
Lana would rather talk about outer space than feminism. Sometimes Lana wishes she were dead. She is unabashedly “too much.” The Coney Island queen. Lana left her bleach-blonde hair and her God-given name and her thin upper lip in a New Jersey trailer park.
Lana uses descriptive phrases like “surf noir” and “Hawaiian glam metal” and she likes when things sound “black and white” and “famous” and “like a sad party.” Lana is a mint julip. And a shot of bourbon. From the bottle. Lana’s aura is deep blue.
Lana once said her favorite foods are coffee and pie. She once described herself as “floral.” Lana toasts to the mad ones. She is running along the beach barefoot in a cocktail gown in the dead of night. Lana is a nightmare dressed like a daydream. Lana calls men “darling.”
Lana is a trap door in cut-off short-shorts. She is a red velvet cake. Lana closes her eyes when she dances. Lana is a constellation. Lana is a sinner. A Venus Fly Trap. Lana says “Sorry ‘bout it” but she’s being sarcastic.
Lana loves your Cadillac. Lana drives too fast. She is a truck-stop diner and she is a five-star restaurant with white-gloved waiters and a private room. Lana will whisper Spanish in your ear.
Lana is heat lightning. Lana is grapefruit juice dripping down your chin. Lana is wild and free.
Crepuscule
E. E. Cummings
I will wade out till my thighs are steeped in burn- ing flowers I will take the sun in my mouth and leap into the ripe air Alive with closed eyes to dash against darkness in the sleeping curves of my body Shall enter fingers of smooth mastery with chasteness of sea-girls Will I complete the mystery of my flesh I will rise After a thousand years lipping flowers And set my teeth in the silver of the moon