I see only the reflections in your mind


Big L – Put it On. 1994. (Cookin Soul remix).


My flowers are reflected
In your mind
As you are reflected in your glass.
When you look at them,
There is nothing in your mind
Except the reflections
Of my flowers.
But when I look at them
I see only the reflections
In your mind,
And not my flowers.
It is my desire
To bring roses,
And place them before you
In a white dish.

The Florist Wears Knee-Breeches, Wallace Stevens


Sometimes the things that matter to you

A good thing to remember is that life

is an equal amount of doughnut shops

and roadkill every day. And if you see

the deer get hit you can call the tiger

rescue group and the deer will become

tiger food. Sometimes the things

that matter to you won’t matter

to anyone but you. And that’s redemption.

The poem that means nothing to anyone

but you. Like how your life was.

[…]

Just breathe.

Karma Affirmation Cistern Don’t Be Afraid Keep Going Toward the Horror, Gabrielle Calvocoressi


carriedandheld.net (Park McAthur)

Erin Shirreff (Von Bartha)

AG2025_DSF6438a or space as a system of relations


Enshittification [is] extraction unchecked. Doctorow (newyorker)


David [Harvey]’s commitment to showing how thinking geographically (spatially, in Explanation) transforms our understanding and explanatory frameworks, which he later brings to Marx’ Capital in his path-breaking third book, Limits to Capital. Already in Explanation,David develops spatial concepts that he never abandons. Deploying philosophers of space like Cassirer, he distinguishes between absolute, relative and relational space. This last—space as a system of relations—becoming central to his framework for spatializing Marxist theory. Almost three decades later in Justice, Nature and the Geography of Difference (1996; his ‘most geographical book’, personal communication) David makes relational space central to thinking space dialectically, returning to two philosophers he read for and cited in Explanation: Gottried Wilhelm Leibnitz and Alfred North Whitehead. (Verso)


Sarah Trouche (galeriemargueritemilin)

merge dreams and reality

“Does anybody really know you?” might be too narrow, or too rigid, a question, with a passive construction that belies reality. Like Schrödinger’s cat, we may not settle into any particular way of being until someone studies us. Other people help us to know ourselves, working with us to create a shared idea of who we are. So, instead of asking whether we are known, it may be more fruitful to ask whether we’ve arrived, in collaboration with people we care about, at a conception of ourselves that we recognize.

[…]

“Why can he not allow the woman of his dreams to enter his dream?” Cavell asks. The answer, he thinks, is that “to walk in the direction of one’s dream is necessarily to risk the dream.” If Peter and Ellie are to really know one another, they have to merge dreams and reality. This is like “putting together night and day.” It’s scary.

Joshua Rothman, New Yorker, 2024.


Verses to such things


Derek Fordjour,? Boy Band Breakup: The Fall of Ascension (2025).?Acrylic, charcoal, cardboard, oil pastel, and foil on newspaper mounted on canvas. 157.5 x 259.1 cm. Courtesy David Kordansky Gallery. Photo: Daniel Greer.

Still must the poet as of old, 
In barren attic bleak and cold, 
Starve, freeze, and fashion verses to 
Such things as flowers and song and you
;

Still as of old his being give 
In Beauty’s name, while she may live,
Beauty that may not die as long 
As there are flowers and you and song.

To Kathleen, Edna St. Vincent Millay