Gillian Conoley
We don't have to share a fate,
we don't have to draw shameful conclusions.

After the shutter releases,
I want you in the multiple,

in the glacial carriage,
in the snake cloister,

in the closet full
of guitars and stomped hay,

in the exhalation of others,
all swaying with love, but changing midway

through the words
I address to you, my hand

pressed to yours visibly
much paler

than before, an orchid
offered beneath a warring sky,

an orchid that yawns
and cracks open and falls apart

unexpected in a bed of soft clothes,
where your shoulders became two steps,

dawns fruits rivers and knives,
full glottal, wide lens

and your hands became two countries,
and my legs murmured like grass,

a dumb love,
a tether to all dreams of enduring,

long convoy between two powers
killing the mockery of words

while daylight floats,
orchids, white dogs stretched out between the slow-burning lanterns.
from the book A LITTLE MORE RED SUN ON THE HUMAN: NEW & SELECTED POEMS/ Nightboat Books 
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 "When we fall in love and have the concurrent inexplicable sensation that we are destined to be with another for a long time, perhaps a lifetime, what could be more frightening, but maybe that is love’s most beautiful, difficult and complicated design, to take us continually beyond fixed notions of who we are, and to likewise sense another alongside one who is also beyond themselves, beyond control, beyond fate."

Gillian Conoley on "We Don't Have to Share a Fate"
Tang Dynasty landscape painting
Poems Without an ‘I’

"Both Li Bai and Du Fu attempted to understand the political disintegration around them by taking on subjects that normally remained outside Tang poetry. Their work was startling in its artistry and breadth—and still is, in a China that is again changing rapidly. Each died convinced he’d wasted his talent, at the margins of the empire he longed to serve."

viaTHE NEW YORK REVIEW OF BOOKS
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“For me, Virgil’s Aeneid is partly about continuity and repetition, a setting out over and over again. Likewise, David Ferry’s deep intertextual approach to writing—especially in Bewilderment, which includes his translations of Virgil, Catullus, and others, alongside his original poems—is also about continuity and iteration."
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