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the shipfitter's wife
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but I say whatever
one loves, is
— Sappho, Poems and Fragments, trans. Stanley Lombardo (via proustitute)
Source: proustitute
cigrette:

From The Feather Room, by Anis Mojgani
It’s tough being a guy, having to be gruff
and buff, the strong silent type, having to laugh
it off— pain, loss, sorrow, betrayal— or leave in a huff
and say No big deal, take a ride, listen to enough
loud rock-n-roll that it scours out your head, if
not your heart. Or to be called a fag or a poof
when you love something or someone, scuffing
a shoe across the floor, hiding a smile in a muffler
pulled up nose high, an eyebrow raised for the word quaff
used in casual conversation— wine, air, oil change at the Jiffy
Lube— gulping it down, a joke no one gets. It’s rough,
yes, the tie around the neck, the starched white cuffs
too long, too short, frayed, frilled, rolled up. The self
isn’t an easy quest for a beast with balls, a cock, proof
of something difficult to define or defend. Chief or chef,
thief or roofer, serf or sheriff, feet on the earth or aloof.
Son, brother, husband, lover, father, they are different
from us, except when they fall or stand alone on a wharf.
— Dorianne Laux, “Men”
Source:
She stuck a bookmark
in my heart
and walked away.
— Saul Williams, from “She” (via jamima-puddle-duck)
cigrette:

From The Shape of Your Tongue, Triny Finlay
I drank coffee and read old books and waited for the year to end.
— Richard Brautigan, Trout Fishing In America (via larmoyante)
Source: larmoyante
Denise Levertov

There are names for what binds us:
strong forces, weak forces.
Look around, you can see them:
the skin that forms in a half-empty cup,
nails rusting into the places they join,
joints dovetailed on their own weight.
The way things stay so solidly
wherever they’ve been set down—
and gravity, scientists say, is weak.

And see how the flesh grows back
across a wound, with a great vehemence,
more strong
than the simple, untested surface before.
There’s a name for it on horses,
when it comes back darker and raised: proud flesh,

as all flesh,
is proud of its wounds, wears them
as honors given out after battle,
small triumphs pinned to the chest—

And when two people have loved each other
see how it is like a
scar between their bodies,
stronger, darker, and proud;
how the black cord makes of them a single fabric
that nothing can tear or mend.

— Jane Hirshfield, “For What Binds Us”  (via cigrette)

(via cigrette)

I remember the color of music
and how forever
all the trembling bells of you
were mine.
— Anne Sexton, from “The Bells” (via the-final-sentence)
When I run my hand across a page of poetry I do not want oil and onionskin, I do not want slick bullshit; I want my hand to come away with blood on it. And God damn you if you are otherwise.
— Charles Bukowski 

(via therealvagabondking)

The Stages of Love

(I)

When you’re young 
it’s your mother’s arms,
that solace of fleshy comfort;
your security blanket, your rock nestled 
in the middle of the sea.

It’s her perfume,
the soft powdery feel of her skin.
It’s her hair, not yet cut
out of frustration in the typical “mom” haircut;
still long with love, still swinging
between your grabbing hands.

It’s her fingers setting sail on your shoulders 
when you’re first learning how to walk,
her loving mouth kissing each scrape,
each cut, each black and blue bruise
from the kids on the playground
whose mothers didn’t teach them
the meaning of the word “No.”

It’s the way she checks under your bed
for things that crawl or go bump in the night,
her hero’s grace, her refusal to see
you off to the land of dreams without
a kiss on the forehead and maybe,
on those special nights, a glass of warm milk.

You’re four, maybe five,
and all you know is your mother’s love.

You were weened on it.

How, you wonder, can it get any better?

(II) 

You’re twelve, thirteen. 

You no longer understand your mother.
But she understands you,
and you hate it.

She still packs your lunch,
still slips a little note inside your lunch bag
for you to read at the table with your friends,
still knows the importance of a balanced
meal, the grains and the dairy.

You throw your lunch away without reading the note,
your mother’s words ringing in your head about
all the starving children in the world who will go hungry that day.
You reason with yourself as you hear the heaviness
of food hit the plastic garbage bin:
You never knew these children. They certainly don’t know you.
And, anyway, this is America. People don’t go hungry.

But mothers do. Mothers go hungry for
the love of their twelve year-old children.

Mothers starve to death every year. 

(III)

You’re sixteen. Almost seventeen.

You’re in love.
It’s in full swing, this dizzy love affair
with the boy who lives across the street,
the boy whose face haunts you
every time you go to sleep.

Your mother still waits for you to get
home from school,
eager to hear about your day, about him,
about all the secret notes passed between classes,
the secret kisses in the lunch line and
how you showed him a breast
beneath a tree in the park on the way home once.

You want to tell your mother
how he says your name like it’s a benediction,
and that he knows where to fit his hands 
so that they curve around you exactly,
that he plays the cello and he knows
how to make your strings ache. 

You’re in love, 
but you want to keep it secret.

No juicy details for the mother
who waits.

(IV)

The day you move out.
College. Freedom.

There is crying, some arguing:
your mother wants you to take the
goddamn sweater your aunt
knitted for you. She wants you to take
the pictures of six year-old you,
another book, some more socks. 

The sweater is hideous,
you were too chubby at six, chocolate
dribbled all over your mouth and chin;
you haven’t read that book in years,
and you could swim in the amount of socks
you’re already carrying.

But this is how she loves you, your mother—
in old, folded up pictures and the amount of socks you have,
in dogeared books that smell faintly of vanilla and open windows.

This is all she has.

(V)

When you realize that you need your mother for the first time,
you’re twenty-three years old and you’ve just gotten
your heart broken by a boy who promised you forever.

You’re crying on the phone and
as your mother’s voice crackles to life on the line,
you find yourself wishing that you could be five again,
that you could crawl into her lap and demand 
that she kiss every fracture in your heart
before sending you to bed.

Your mother is patient,
kind, understanding. She knows this kind of pain.

She wants to know if you’ll come home,
for a little while. Just a few days, take a long weekend.

You feel the bars rattle and then come down,
locking her out again. You wipe your face
and tell her that you’re fine and you hang up.

But you sleep with your thumb
in your mouth that night,
wishing for warm milk.

(VI)

But you do, eventually, find a boy who
says forever and means it.

There’s a wedding you can’t really remember
and your mother, of course, she’s there,
adjusting your dress, smoothing a lock of hair into place.

You look at her, really look at her,
and you’re surprised to see the lines near her eyes,
the gray hairs that she refuses to dye coming up
from her scalp.

She sees you looking, smiles, and kisses your cheek.  

“All in good time.”

And your throat closes up at that word, time, 
because it’s happening all around us, not stopping for anyone,
not even for your mother.

She’s getting older, and you hadn’t even noticed it.  

(VII)

When you find out that you’re pregnant,
she’s the first one you call.

At first there is silence, and then a scream,
and then laughter, gloriously loud and bright:
you forgot that the sun lives in your mother’s laugh.

The conversation is a blur of baby name suggestions,
color palettes for the nursery, plans for a shower,
how you’re hoping for a girl
and your mother’s brief silence that you ignore,
the silence that says,

“Be careful what you wish for.”

Eight months and two weeks later,
her silence comes back to you
as your husband hands you a beautiful
baby girl, bloodied and slightly purple.

She is the Earth, this baby girl,
and you orbit her without really knowing how or why,

But you know that it will always be this way. 

(VIII)

She is seven, your baby girl. 
You still call her that. Your heart squeezes
every time she calls for you, for “Mama”,
each time she laughs
and reaches for your hand to show you the
butterfly she’s trapped in a jar.

But it’s the first time you go to smooth
down her hair that she flinches and runs away
to hide behind your mother.

“No. No, no, no!”

You are a mother who taught her child
the meaning of the word, and
it’s the first time she’s ever said it to you.

The blow of it knocks the air out of your lungs.

But you run after her anyway because 
this, too, is love.

And there’s still a handful of nights
left for warm milk, still all those monsters under her bed
that you have yet to send away.

Filed under: personal, poetry,
With each breath
a curlicue of hair
slowly descends
around your ear
and bends to reach my palm;
half-asleep,
I enter your dream
taking care
not to watch the seam
between our bodies
too intently.
Michael Salcman, “One Asleep, One Not” (via atomiclanterns)
cigrette:

Inceptions of Skin, Triny Finlay
Some piece of you
stays in me and I’ll never give it back.
The heart hoards its thorns
just as the rose profligates.
Just because you’ve had enough
doesn’t mean you wanted too much.
— Dean Young, from “Poem Without Forgiveness”

(via theoryoflostthings)

To love another is something
like prayer and can’t be planned, you just fall
into its arms because your belief undoes your disbelief.
— Anne Sexton, from “Admonitions to a Special Person”
Source:
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