“You are entering your life’s sweet May.”
— Afanasy Fet, tr. by Robert Chandler, from “Here,” wr. c. 1883
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Today's Document
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@rachelclairewrites
“You are entering your life’s sweet May.”
— Afanasy Fet, tr. by Robert Chandler, from “Here,” wr. c. 1883
F. Scott Fitzgerald / The Great Gatsby
[I USED TO THINK SILENCE WAS BEAUTIFUL, BUT NOW I GET WHY]
I used to think silence was beautiful, but now I get why we all need to be shouting loud as that summer the couch had fleas.
When the gallery wall told me to cry I was already crying. The world is full of active losses and my body knows it.
I make Moroccan chicken red as what spills from me and I miss you so hard. My body bruises like an arrow
and you already know. It’s frightening to call someone you know will pick up. Smoke blown after lots of talking or not talking
which can be different than silence. Talking makes everything more real which is a problem here. Tell me the difference between
a change and an end. As if you are a canyon and I’m flying over. We need mezcal and a lamp turning us oceanic. Remind me again
what might be good to row toward. What does deserve mean? How can I ever? When I swallow a pill, it settles me and that’s how
I keep on. I whisper be well but how and for how long? Still my knuckles go white at the word open.
ANNA MEISTER
Audrey Hepburn on the set of Sabrina, 1954. Photo by Dennis Stock
Audrey Hepburn on the set of Funny Face, 1957
Hôtel de Ville, Paris, France
Palais Garnier, Paris, France
Anne Hathaway, Audra McDonald and Raul Esparza in “Twelfth Night”
Elizabeth Taylor, 1956
“I don’t entirely approve of some of the things I have done, or am, or have been. But I’m me. God knows, I’m me.”
The blood moon is framed by the statues of Hera and Apollo in Athens, 27 July 2018 (x)
surviving!!!!
just remembered this real bad month say what you will about vanity but i am thankful to have documented every last dumb bad sad ugly moment
Audrey photographed by Dennis Stock during the production of Sabrina in Long Island, New York, USA in 1954.
here is a photo of a whole lot of ladies and look there is me with blue hair really feelin it’ in my floral vest at dave’s. i think i was 20? mighta been 21. that white dress is a nightgown and i wore it out every weekend for 6 weekends in a row at one point.
for you
it’s all in the wrists, thin and gentle, bending at muted angles. wrists resting against the edges of tables, against the cane of an umbrella, against the heavy crest of bathwater.
next, the eyes kept like tilting lampshades, always the world half illumined.
and lips, dark and weighted and wrapped in velvet. ruffling, furrowing from the corners into a sudden knowing , a whisper, an unmade bed.
a body, naked and sprawled across sheets, the dust in the air hugging curved lines of freckled tan.
the hook of a hip bone digging into a thigh; hands gripping linen and skin.
palms and fingers and wrists braided against each other.
it’s in the shoulders, too. the dulcet crooks sloping into neck, collarbone, breast.
then hair, hair that spills and swirls in shades of umber and gold.
wrist against collarbone, palm meeting body, hair sweeping skin.
and the voice that sighs like the quiet echo of wind chimes.
for every action, an equal and opposite reaction
for every action, an exhaustion. you fling your limbs across cotton sheets. claw at the thin skin under your eyes.
for every morning, a night that blurs at its own edges. for every night, an unraveling, an upheaval. you pin your own arms behind your back and pray for sleep to come.
for every reaction, a questioning.
did you really have to fuck it up to learn from it,
or did you just want to watch everything fall apart while you sit on the edge of the bed and lick your lips and wait.
seven ten fifteen
One day, last fall, I wrote this down: violence turns the person it was inflicted upon into an object. We make bodies a commodity by which we measure the successes of war. We think of victims as evidence. If you watch CNN long enough, you might forget for a moment your own humanity.
Sometimes I forget I have a name, and a soul. That I’m a person who inhabits a body. Sometimes I forget these things about everyone around me.
If you pile them high enough, bodies can cease to be people at all.
On the question of a soul, I’ve been giving it a lot of thought. If you choose to believe in the concept of souls, which I do, you might generally think of a soul as the essence of a person, as their truest inner self, as the thread binding together the core of them. Sometimes I imagine my soul like an orb– in my mind, it’s emerald green and burning inside my chest. Somewhere right between my lungs. Usually though, I don’t think of it all. And if I tried hard enough, I could surely never think of it again.
A few weeks ago, on a hot June day, I wrote down: love turns the person you inflict it upon into an idea. You can make anyone anything you want. Love is a hostile act.
There is a thing poetry does in which you talk about one thing when you’re speaking of another. The way I’m always talking about the moon when I’m talking about a man. In which I’m actually talking about myself. Because all I’m ever looking for in a man is the person I want to be. Hannah says, “You shouldn’t sleep with someone unless you would want to be them.”
I want to be them, not be with them, which is the problem, which has always been the problem. All I’m ever looking for in a man is the idealized version of myself that I’ve created in my mind and which I can never live up to and so I guess I’d rather just be near it for a while, if I can.
You can make anyone anything you want. All I’m ever looking for in a man is exactly what I’m describing when I’m always talking about the moon which is all I want for myself– be clear, be unchanging, be waiting for me every night. Spin gently around me as I go and move my tides with your strength and your vision. All I need is the moon, and I’ve been telling all of you that for years. Sure, I want the rain and the storm and the field and the shadow and the skin, but I need the moon.
The thing I can’t write down but which I want to say, and what all of this is a way of saying, is that I am sorry that I had to break your heart. I am sorry that my heart was broken first. Cruelty turns like a tide, and I’ve yet to learn to harness its power. I’m always ricocheting back from my own tenderness towards a place of violence. In the same way someone once plunged a knife into my side, I needed to pull it out and do the same to you. In the same way a man once shoved my face into brick, I had to pull apart your heart in my hands. I am sorry this is the only way I knew, then, how to heal. I am sorry I hurt you so I could begin to scab, and I am sorry I smiled while I did it.
I have been so cruel for so many weeks. Months now, I suppose. Maybe a year. When I was younger, I inflicted all my rage, all my anger, all my hurt onto myself. I flung myself into walls, against sharp edges.
Then, one day, I learned to break a heart, a skill you can only learn once someone does it to you. Like cutting hair. And I am sorry.
Last week, on a blank July morning, I wrote down: treat me like a campground.
Inhabit me and burn me, then leave me in the morning? I couldn’t tell you what it meant when I wrote it down. I wrote it down after a bottle of wine, which is how I write these days. It’s not how I rewrite though, not all of the time.
Cruelty turns like a tide, and we all take turns. In the same way those men hurt me, I circled round back again and hurt others. In the same way I hurt them, they did unto others. If everything is a pattern, surely we could trace it back to its source like a riverbed. In the same way I’ve, again and again, traced the blues of my own veins, I could follow these cruel habits back to where they began but in the same way I’ve chosen not to think about my soul, I will choose to stay still instead.
If I could apologize, would it make a difference? Could you forgive me? Could I forgive myself? Have I learned a damn thing?
I mean to tell you all the ways I have once felt and how sorry I am for making you feel those same ways. I mean to say all that, which is why I’m always talking about the moon. Which is why I’m always talking. Why is why I’m writing it down now.