From the other side of silence ceaselessly pass:
dogs, willows, sudden orchards, moths white or gray
(they fill the void that sometimes lacks a mouse
to seal earth's gaping rift in any way),

abysses strangled by a green rebirth,
and girls who in their eyes bear heaven's weight,
and silver clouds that mount above the earth,
the faith that this, precisely this, is fate, is fate,

and prayers for greater longing, and the cold
fog from beyond the grave, bad spring times, bad
gods, and timeless lilacs, moths black or gold
and you, who write these words, and grow so sad . . .
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Combined image of Giorgio de Chirico head shot and one of his paintings
"It’s not that Italian feels more true or closer to his origins than French, the language in which his creative work appeared more frequently. Instead, Italian is a site of simultaneous proximity and distance, assertion and questioning, belonging and not."
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"'Gravity' from Sister Urn addresses how Rexilius navigated the knowledge of her sister’s passing on social media, the kinds of questions received there. In conversation, Rexilius has told me 'Gravity' was the first poem she wrote after her sister’s passing. She writes, 'This is the line of outcome.' Cause and effect, the consequence of action, the poem announces that it will attempt narrative in order to account for the unaccountable."
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