Rather glass that’s taught by patient labor


What is poetry? Is it a mosaic 
Of coloured stones which curiously are wrought 
Into a pattern? Rather glass that’s taught 
By patient labor any hue to take 
And glowing with a sumptuous splendor, make 
Beauty a thing of awe;
where sunbeams caught, 
Transmuted fall in sheafs of rainbows fraught 
With storied meaning for religion’s sake. 

Fragment, Amy Lowell


We two, how long we were fool’d,
Now transmuted, we swiftly escape as Nature escapes,
We are Nature, long have we been absent, but now we return,
We become plants, trunks, foliage, roots, bark,
We are bedded in the ground, we are rocks,
We are oaks, we grow in the openings side by side,
We browse, we are two among the wild herds spontaneous as any,
We are two fishes swimming in the sea together,
We are what locust blossoms are, we drop scent around lanes mornings and evenings,
We are also the coarse smut of beasts, vegetables, minerals,
We are two predatory hawks, we soar above and look down,
We are two resplendent suns, we it is who balance ourselves orbic and stellar, we are as two comets,
We prowl fang’d and four-footed in the woods, we spring on prey,
We are two clouds forenoons and afternoons driving overhead,
We are seas mingling, we are two of those cheerful waves rolling over each other and interwetting each other,
We are what the atmosphere is, transparent, receptive, pervious, impervious,
We are snow, rain, cold, darkness, we are each product and influence of the globe,
We have circled and circled till we have arrived home again, we two,
We have voided all but freedom and all but our own joy.

We Two, How Long We Were Fool’d, Walt Whitman

Contemplate simple pretexts for happiness


Derek Guy on pantalones chinos.


« Quand une personne a vraiment atteint la capacité de créer, son unique devoir est de manifester cette puissance à l’écart des attentes et des jugements. » (Forough Farrokhzâd (1935-1967))
via Librarie Petite Egypte

Perhaps life is a choked moment where my gaze
annihilates itself inside in the pupils of your eyes—
?????I will mingle that sensation with my grasp
?????of the moon and comprehension of darkness.

In a room the size of loneliness,
my heart’s the size of love.
It contemplates its simple pretexts for happiness:
the beauty of the flowers’ wilting in a vase,

the sapling you planted in our garden,
and the canaries’ song—the size of a window.

Reborn, Forugh Farrokhzad. Translated By Sholeh Wolpé

Behind his project lay the understanding that social life is “a seamless web, a single inconceivable and transindividual process, in which there is no need to invent ways of linking language events and social upheavals or economic contradictions because on that level they were never separate from one another” Benjamin Kunkel on Fredric Jameson.

AG2026_1120705a or live our myth in the recurrence


Lee Friedlander, Life Still. (Aperture)

Six Photographers on Lee Friedlander’s Timeless Influence.


No one really dies in the myths.
No world is lost in the stories.
Everything is lost in the retelling,
in being wondered at. We grow up
and grow old in our land of grass
and blood moons, births and goneness.
We live our myth in the recurrence,
pretending we will return another day
.
Like the morning coming every morning.
The truth is we come back as a choir.
Otherwise Eurydice would be forever
in the dark. Our singing brings her
back.
Our dying keeps her alive.

The Singers Change, the Music Goes On, Linda Gregg

AG2026_1120538a or in their brevity to reach one another


What things are steadfast? Not the birds.
Not the bride and groom who hurry
in their brevity to reach one another.
The stars do not blow away as we do.
The heavenly things ignite and freeze.
But not as my hair falls before you.
Fragile and momentary, we continue.
Fearing madness in all things huge
and their requiring.
Managing as thin light
on water. Managing only greetings
and farewells. We love a little, as the mice
huddle, as the goat leans against my hand.
As the lovers quickening, riding time.
Making safety in the moment. This touching
home goes far. This fishing in the air.

We Manage Most When We Manage Small, Linda Gregg


What am I if not what happens
when I try to run away?

Water falls out of me like
an opinion. I’m like a screen
door banging between two rivers.

Dear air, what’s inside me
you’re so desperate to take?

I put on the Atlantic like a sweater.
My head bobs on the surface
of a lake I’m named after.

Where do I belong?
My head asks. My body,
exasperated, answers.

Ode on Humidity, P. Scott Cunningham (Poetry, April 2026)

Melvin Edwards

Tomorrow’s Wind, 1991. Public Art Fund — Doris C. Freedman Plaza, February 17 – May 31, 1991.
Thomas Jefferson Park. Materialism.nyc.


Before Words,” 1990. Public Art Fund — Brighter Days at DeCordova Sculpture Park and Museum, June 1, 2022 – April 30, 2023.

Melvin Edwards, Before Words
Public Art Fund at City Hall Park, New York City, May 4 to November 28, 2021.
Photo: Nicholas Knight, Courtesy of Public Art Fund, NY.

Melvin Edwards, Ausstellungsansicht Kunsthalle Bern, 2025. Foto: Cedric Mussano