I fell asleep in a river, I woke in a river, of my mysterious failure to die I can tell you nothing, neither who saved me nor for what cause — - Louise Glück

I am attracted to ellipsis, to the unsaid, to suggestion, to eloquent, deliberate silence. The unsaid, for me, exerts great power: often I wish an entire poem could be made in this vocabulary. It is analogous to the unseen; for example, to the power of ruins, to works of art either damaged or incomplete. Such works inevitably allude to larger contexts; they haunt because they are not whole, though wholeness is implied: another time, a world in which they were whole, or were to have been whole, is implied. There is no moment in which their first home is felt to be the museum.

As I turned over the last page, a wave of sorrow enveloped me. Where had they all gone, these people who had seemed so real? To distract myself, I walked out into the night; instinctively, I lit a cigarette. In the dark, the cigarette glowed, like a fire lit by a survivor. But who would see this light, this small dot among infinite stars? I stood awhile in the dark, the cigarette glowing and growing small, each breath patiently destroying me. How small it was, how brief. Brief, brief, but inside me now, which the stars could never be.

"Aubade "

There was one summer
that returned many times over
there was one flower unfurling
taking many forms

Crimson of the monarda, pale gold of the late roses

There was one love
There was one love, there were many nights

Smell of the mock orange tree
Corridors of jasmine and lilies
Still the wind blew

There were many winters but I closed my eyes
The cold air white with dissolved wings

There was one garden when the snow melted
Azure and white; I couldn’t tell
my solitude from love — There was one love; he had many voices
There was one dawn; sometimes
we watched it together

I was here
I was here

There was one summer returning over and over
there was one dawn
I grew old watching