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i am pitiful in my love for you / the action of my fate / i want you to eat well / i don't want to end up simply having visited this world / works in translation / spirit longing to fly / summer slips into another / the sun & the sunkissed / autumn leaf drifts by / mournful dawns / the moon & her maiden / love’s a revolution
Sometimes in late summer I won’t touch anything, not the flowers, not the blackberries brimming in the thickets; I won’t drink from the pond; I won’t name the birds or the trees; I won’t whisper my own name. One morning the fox came down the hill, glittering and confident, and didn’t see me—and I thought: so this is the world. I’m not in it. It is beautiful.
— ‘October’ (Mary Oliver)
Look, I want to love this world as thought it’s the last chance I’m ever going to get to be alive and know it.
— ‘October’ (Mary Oliver)
I believe in living. I believe in birth. I believe in the sweat of love and in the fire of truth.
— ‘Assata: An Autobiography’ (Assata Shakur)
In an effort to get people to look into each other’s eyes more, and also to appease the mutes, the government has decided to allot each person exactly one hundred and sixty-seven words, per day. When the phone rings, I put it to my ear without saying hello. In the restaurant I point at chicken noodle soup. I am adjusting well to the new way. Late at night, I call my long distance lover, proudly say I only used fifty-nine today. I saved the rest for you. When she doesn’t respond, I know she’s used up all her words, so I slowly whisper I love you thirty-two and a third times. After that, we just sit on the line and listen to each other breathe.
— ‘The Quiet World’ (Jeffrey McDaniel)
But I’m greedy, Red. I wanted the last word as well as the first.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
To be unmade, that last written over—to be destroyed by you was easier, truly, than living with what you proposed.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
Red may be mad, but to die for madness is to die for something.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
Kashmir shrinks into my mailbox, my home a neat four by six inches. I always loved neatness. Now I hold the half-inch Himalayas in my hand. This is home. And this the closest I'll ever be to home. When I return, the colors won't be so brilliant, the Jhelum's waters so clean, so ultramarine. My love so overexposed. And my memory will be a little out of focus, in it a giant negative, black and white, still undeveloped.
— ‘Postcard from Kashmir’ (Agha Shahid Ali)
Dearest, deepest Blue— At the end as at the start, and through all the in-betweens, I love you.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
I love you and I love you and I love you, on battlefields, in shadows, in fading ink, on cold ice splashed with the blood of seals. In the rings of trees. In the wreckage of a planet crumbling to space. In bubbling water. In bee stings and dragonfly wings, in stars. In the depths of lonely woods where I wandered in my youth, staring up—and even then you watched me. You slid back through my life, and I have known you since before I knew you.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
I love you. I love you. I love you. I’ll write it in waves. In skies. In my heart. You’ll never see, but you will know. I’ll be all the poets, I’ll kill them all and take each one’s place in turn, and every time love’s written in all the strands it will be to you.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
Listen to me—I am your echo. I would rather break the world than lose you.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
I want to meet you in every place I have loved.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
I want to be a body for you.I want to chase you, find you, I want to be eluded and teased and adored; I want to be defeated and victorious—I want you to cut me, sharpen me. I want to drink tea beside you in ten years or a thousand.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
But when I think of you, I want to be alone together. I want to strive against and for. I want to live in contact. I want to be a context for you, and you for me.
— ‘This Is How You Lose the Time War’ (Max Gladstone & Amal El-Mohtar)
The setting of houses, cafés, the neighborhood that I’ve seen and walked through years on end: I created you while I was happy, while I was sad, with so many incidents, so many details. And, for me, the whole of you has been transformed into feeling.
— ‘In the Same Space’ (C. P. Cavafy, tr. Edmund Keeley & Philip Sherrard)