i’ll waste all my chances at heaven darling — i’ll waste all my chances for the midnights we spent dreaming, stranded inside an old lighthouse as the waves crashed on the shore. i’ll waste my chances for a mouthful kisses, dissolving the gaps between the stars. i’ll waste my chances for a sliver of early morning poems, for sunsets dripping on our skin, for seconds where i can hold your hand — free and unafraid, for minutes where i can be a sinner and you, my capital sin. for hours where i can melt all the world and its hurtful words inside your arms.

darling, i’ll waste all my chances at heaven if i can’t love you way past its walls.

i’ll waste all my chances at heaven — and i’ll waste them all on you.

Eyes. Heartbreak is her sunlit memory barely held by a wooden clothespin. It hangs and glares before your eyes, mocking as it fades into an empty filmstrip. Heartbreak is a lost soul left to perish in her ghost-town, and warmer sunsets are lifetimes away. A wonderwall left standing, pinned polaroids, desperate scratches. You had fought hard and long, for this, but homes are made for breaking and crumbling and leaving, especially in the losing side.

Mouth. Heartbreak is a paper-tag of a goodbye caught in her lips. It is a metaphor that melts at the soft space under your tongue, a certain bittersweet taste made for drowning with a cold lager, a stranger’s whispers, and the perils of his unfiltered cigarette kiss. Heartbreak is taming a manic scream into a delicate, defeated sigh, out of sync with the way she breathed. But then sighing still hurts, and breathing still hurts because you’re alive – you’re so ******* alive for this unbuffered pain.

Chest. Heartbreak is begging your chest not to break amid a listzomaniac rush. Heartbreak is a prosaic throbbing, a treacherous ***** stuck in your ribs, begging to be held like it doesn’t hurt. Heartbreak is a site of buried lavender lithiums, asking for a eulogy; but silence is equally as oppressive. It is your body betraying you, like a city undone by its smokes. It is a quiet word – not a poem, because poems are beautiful despite the pain, and this isn’t. This isn’t.

Hands. Heartbreak is your shaky hand flipping through the last three pages of a tragedy — a heroine dies, a stray star falls, a maiden leaves on a horse-drawn carriage. There is no changing of the ending. Heartbreak is reaching for the empty space in bed, leaving your fingers in technicolored bruises. How can emptiness break one’s bones? Heartbreak is scrubbing your skin dry, raw, and untouchable where she once laid her kisses. Heartbreak is your nails digging through her letters in utter despair — for invisible ink, a promise in the postscript, an estranged lover in familiar flesh, only to find torn sheets, spilled wine, and finality.

Legs. Heartbreak is coming home to ***** laundry all over these cold, wistful floors. Heartbreak is walking in hushed tiptoes only to trip and fall down a memory lane – a kaleidoscope of all the wounds that can possibly hurt. It is catching an empty train to somewhere unloving her is possible – doable. Heartbreak is teaching your legs to run away from the chaos of her naked skin, and not to fall at her feet. But still, you fall and you fall and you break what’s left of your bones chasing after something that’s already gone – long before it has said goodbye. So turn your back and hold your heart — it breaks harder, louder, and worse before it settles down and sits as quiet aching: a forgotten filmstrip, a soundless breath, a calm poem, a serene night.

I'm drunk and the skies are a little hazy, and the stars, a little like Van Gogh's, but tonight, I'm still an astronaut angling metaphors from the mesophere and you're still the moon to which these poems orbit around.

Find me tearing violets, my love,
in a manic daze; I am running out of softness and daylight,
like winter’s cruel hours


“but I will crown your hair with these torn violet tiaras
and your soft throat, twine with woven garlands”


and I will dig into my tongue for the remaining metaphors
beneath the bourbon, until odes drench my lips,
I will stitch my wounds shut and ready for your apricot kisses —
I ache to be kissed away,
to waste away before your sun-speckled eyes
like a tiny fae in your flower basket, I ache to settle
in your dainty hands,
in lithe fingers lost in my wind-blown hair.


My November, my gentlest love,
how I breathe you in like my grandmother’s letters —
how you consume me
in curious ways
and for the first time, I am not afraid of the softness
buried and warm inside my bone marrows.


Tell me, darling, will you stay?
Will we stay
this time
for more than a kiss?
Will we linger longer
than silhouettes in a dream?

I name all of my lovers after months now
and all roads lead to August and
the Roman cities we’ve burned —
how she walked on crumbling streets as I held the matches —
this poem is a page for burning at its tip:
a lone match, scalding — a firelit kiss
but the flames have always been a hypnotic sight
like a woman perched in your sunlit bed —
her hair, red as flames licking my neck,
red as love that bleeds on itself;
it leaves a stain on pretty things.

Now her skin has silk sheets burning away
like banners in a Roman cathedral,
her half-breath kisses, dying — now embers,
tainting my dress black where her lips had staked a claim.
Now her touch is wildfire crawling on my skin
and I am a wounded doe — waiting. waiting.
waiting.


The only world I know burns to the ground
before my very eyes
and we are no phoenixes, darling; all we do is burn.

You still eat away at my chest
like a mole finding its way out of my body.


God, it’s been ten years now since you last wrote me a letter
sealed with a pressed, dead daisy
and a ghostly kiss mark,
yet they’re still dying under my thumb.


These days slip by and I can no longer write you poems,
my dearest, sweet September —
but still, I hope that you have in your chest
all my papercuts from unbridled letters,
all my quiet midnights,
and all of my unwritten words;
they are yours for missing.


Must you leave a girl then, darling,
whose only fault was being one?

i am sorry but my bones will always love you like hell, like it was war, like the world needs to end in the process, like the hand of god, taking you out of my ribs and now he needs to return it back where it rightfully belong. i will always love you, in godless sacrilege. i am sorry if i don’t know any other way.

Her eyes are sinkholes in a quiet, sleeping state
and I was a girl, lost and misplaced at twenty-one,
looking for love in infinitesimal spaces:

on her palm creases and chipped, ruby nails,
and in the blown-out ends of her lotus tattoo
I find myself tracing a secret,
at the spiked tips of her hair tamed by fairy lights
and on the slits of her skin — a rabbit hole of wonders,
I always fall like Alice in sworn careful tiptoes
and crash headfirst; a broken wishbone, a tainted wish
some habits you just can't quit.
like —
October and her obsidian eyes, and the sunless ways we kissed —
being lost and misplaced made sense for a while in the detached comfort
of her cold bed, colder hands,
warmth has become an oppression.

But this dalliance has always been a disaster waiting to happen
and I am a paramour, a memory, a face in the crowd
swallowed in a seismic fall —

and losing October has always been a disaster waiting to happen —
this bed, always a site of a losing battle
and I find myself in a soiled, torn dress,
lying helpless on the other side of her war.

Tonight, I light myself a candle;
maybe one day, I'll finally learn to run away from a girl made of disasters

and not towards her.

i need a safe place to take off my skin and scoop out all the sorrows it carries. it peels. it burns, like a banished soul. but i have stopped saying my prayers — they just crumble into a ghostly sigh. i need a safe place — to take a peek at my demons without looking like one of them: a hurtful father. a forsaken son. a snake that sheds its memories and sins. i need a safe place to still my breathing — without my fingers pressed on a bruise and without my hands around neck. i need a safe place — a place away from all these thoughts, away from all these hurting. away from all of me.

i can never love you the way i claim — delicately and without violence. i remember hating flowers and broken seashells, and my grandmother, hand-sewing pastel dresses. deep down, my bones are raised on stories of ancient wars and biblical battles carried from memory to memory, a string of generational blunders — i am made of my father's bitterness and my mother's denial. so i will love you with corruptions and apologies, with bled-out  veins, giving in like an emptied river, with all the poems i have read and forgotten, and with everything that makes me finitely human.

I stick my fingers in my throat
and throw up a basket of swallowed suns;
under it, my tongue is parched and pinned in place
like a dried house moth on an entomologist’s hand
that nurses it back to life

and demands devotion in return,
a poem in return.

But I have purged the feeling being out of me
like a cold, cold man now averse to the ways of his younger lover
who is alive for all of it — the lust and the starving kisses
and the quiet deaths in the morning only to haunt at night.

I leave letters for my bitten nails without meaning a single word,
and go to lie with the superficiality, the hypocrisy nesting under my tongue.

I have started writing poems again — see where they take me this time
and find myself here, once more
where a fool unpacks her baggage and out I come rolling
like a dead body with a foaming mouth, a brown moth burning under the sun,
a leech that scurries under salt and needles,
slowly eroding like sanity.

She thinks, therefore, she is, they say,
but at what cost? She looks on and pens this poem
with a tiny smile on her lips.

today, demeter is nothing but
a bewildered ghost in a haunted meadow,
skinning flowers as they weep:
they're neatly lined as in an execution,
the creek, a boneyard,
a lair of sorrows for her dazed *******.

today, the sun desperately combs
through tree branches
for an abandoned nest of grief
but its hands just stray too far
and poke at a meadow's wound —
nails cutting through graying skin.

this is a poem written by a bystander.
this is a poem written by a witness.
this is a poem written by the victim.
the world blurs its lines today
and demeter is nothing
but a forgotten ghost
in a town painted new.

Here we are as unclaimed lights fall into the room. Here we are with better names, old letters peeling after the other. Here we are, now made of changing lights and indigo dreams. In the very last month and for the first time, I claim the body of an Egyptian lad and you are the sun god, washing over me like a brand new day. For the first time, December doesn’t feel like choking on poppy blossoms. For the first time, December is freeing as scattered pastel lights.

For the first time, my love, December rests on my skin — and it doesn’t hurt.

the stars weep over all the terrible ways i have loved you —
dress you in their light caught
in my aprium kisses and cigarette daydreams.
empty my ametrine veins,
disembodied to hold your bones together —
kiss you, break me, leave me
burning and trapped in a lantern room; watch me
sink ships to come back to your arms; you've always waited.
and they all still weep and fall
over all the terrible ways i'll still love you

long after they die.

"I guess we're all in varying degrees of 'not okay'."

Let's cut the crap and all that sweet **** — we weren't those kind of people. We weren't made for romance and sappy poetries, weren't made for love songs, and cringey sweet nothings and gazing at the sunrise after camping out for the night on a hill. We were made to hold hands and a few almost-kisses during drinking sessions and forget about it the next day, to smoke and lie down a little bit too close to each other on rooftops and talk about depression and anxiety attacks, and deny everything in the morning. We were made for my unsaid "I miss you too's", that want to escape my lips the moment you say your drunken "I miss you's". We were made to see each other break down in between a pack of cigarettes and two bottles of local ***. We were more like two ****** up souls recognizing each other; more like two faultlines causing an earthquake and taking everything down with them, more like the first raindrops to fall apart before a thunderstorm, like two planets out of orbit crashing on each other in a brief but destructive way.

You see, maybe we're just drawn to people similar to us, and maybe, we're just drawn to each other because we're equally messed up. Maybe it was just the strong urge to save the other that borderlined to romance. But I guess being messed up wears people out, and sometimes I find myself wondering who got exhausted first. Where did the talks about "wanting to die together" go? When did the conversations about our saddest secrets cease? What stopped "Man, loving you is a disaster I won't mind being struck by," from coming? Was I too depressive and sad for you? Were my breakdowns suffocating? Did my fuckedupness stop feeling like home and started looking just plain ****** up? When did you start fading away? Why would you do that? Stupid questions.

You should know, it beats the **** out of me to say it, but I was perhaps a little bit desperate for you to stay. Perhaps I got too comfortable with your demons, I almost adopted them as mine. Perhaps the fact that you were willing to give me your ******-up all was comforting. Perhaps I was selfish, and I kinda wanted my darkness to be the only darkness you'll wanna light. Perhaps I miss you and it feels like I'm a chainsmoker on withdrawal from her cigarettes, and what ***** more is that I don't even know if I still cross your mind as that same sad girl you were happy being sad with, as that same sad girl who had always been your destination, and the very same one you apparently stopped coming to. And perhaps, thinking about all of these is *******. We weren't some modern-day knight and damsel. You weren't the guy with the beautiful blue eyes, and I'm not the girl with the blue washed denim they sing about. We were just misfits who made a mess out of the messed ups we already are, as if that isn't already enough. We were just planes thrown in the air, hoping to land, but ending up crashed and burnt. And that's how it always worked for people like us.

I was never worn out by your sadness as much as I was worn out by mine. And clearly, you were my favorite messed up, but, you're just not worth it anymore. And this — this is a just an unpoetic musing about the wrecks that we are, an impulsive attempt of detoxifying you out of my system. This — this is me, disowning your sadness; this is me disowning your demons. So let's just cut the drama and all that sweet **** — we weren't those kind of people. We were the almost-but-not-quite's, the could've-beens, and the never were's. We weren't the kind that bags the happily ever after. We weren't the kind that makes it.

All we are is everything short of lovers. All we're made for is everything short of I love you's. And this is everything short of love.

lost souls don't end up in asphodel meadows, honey —
they end up in your apartment;
a messy, poorly-lit place.
or so i did.
our systems filled
with nicotine and other bad ideas
i will for sure regret.

well, truth be told,
you're mine to regret.

well truth be told,
you're not.

but there we were,
flung in a den of frenzied kisses —
skin next to a black hole,
a black hole next to a skin
guess we'll never know which is who.
but tonight break me —

we both know this isn't your
watching-sunset-and-gazing-at-stars
type of love.

so tonight stain me,
and i'll call it a pseudo-romance, darling
and maybe after,
we can smoke cigarettes
or watch the city fall asleep
or stare at each other's empty eyes;
maybe somehow that's more of our style
darling, than staring at the sunrise is.

but at this moment i know,
in this poorly-lit place,
dripping roofs,
***** sinks,
that i will waste my words writing
beautiful poetry for you,
even if i'm not that beautiful myself.

even if you're not that beautiful yourself.

even if we're not that beautiful ourselves.

My throat is heavy with August’s sorrows
I sit by the shore and wait for the weakest waves
to drown my little feet — I  stagger over them like a clumsy giant.
But it’s seaborne sadness wraps, a constant, unrelenting embrace
like a mother’s grief,
a gentle creature’s death,
a rabid dog feasting on a poor, meatless bone.
I am alive — so cruelly alive for it all
as it falls

down my throat, down my chest like a child’s pained whisper.
My body is heavy with August’s weight as I retire to my filthy bed
and hold myself.

Cold are the nights in their quiet,
lackadaisical, taunting hours.

Come now, September. Come, kindly, if you please;
sweep me away into a million, invisible dust particles
suspended

under clueless, flickering lights.

this is love stripped of poetry, so here darling, i might as well just rip out my chest because not loving you is the last act of self-inflicted violence. how i rue the days. i might as well just rip my chest out and give you my heart — burrow your way under my skin, like wood dusts drawn to the wounds in my heels. i will give up poetry to be loved by you in ways not dreamy. in ways raw. sober. aware. unadulterated. lawless. infinite. in intense, longing gazes. in ways that stray from falling apart so beautifully, in such chest-tearing grace. in ways that stain tenderness. in ways that crash and burn.

my love, catch me. watch me tear down the world in the name of your eyes. watch me tear down poetry. i have no need for it.

to love all of you within the noiseless half of a sigh is a time-swept fever dream stirring in my fists — part firework smoke, part lavenders, part quiet, cautious limerence. how you enchant and unsettle me — i run high and aimless, and free fall in seconds. i am smitten. desperate. love-sick. wordless now, for all i care, darling — i'll leave all of my poems strewn in your bed, like a girl shedding her mortality before a goddess in her truest form.


to disrupt this is a human blunder. to bask in it, divine. ♡

i am fluent enough to understand emptiness when it speaks to me; if you dust off my skin enough, you'll see traces of the sighs we exchange — spilling down gracelessly, they bruise a fragile skin. i have mastered the art of naming them after wild lilacs.

maybe for once, i can say that i am soft enough to grow flowers on my wrists. my lungs. my sternum — all the parts of me that hurt.

but i know too well all about screaming in barren lands. i have thrown my poems in a forest fire. i have forgotten how to breathe without hands around my neck. i have wished to fall on a sword, way too many times to still call these open wounds as bruises — these bruises as flowers — these flowers as soft.

i am fluent enough to understand emptiness when it speaks to me — kindly, and yet, how can i tremble over gentle things? maybe pain isn't what it always is, and i wish to unlearn this language — the mother tongue, whose every word i know by heart. and maybe one day, when it sighs my name, i finally will stop sighing back.

but now, this bed is caving in under all these lilacs and glassy, distant eyes. oh, such a classic case of a girl gone mad at the sight of sunbeams on dying flowers — aching in silence, as she watches it all.

i am fluent enough to understand emptiness when it speaks to me. and outside, the sun rises in vain.

i spent too many times trying not to love you, darling, but i know this now: loving you has always been in my very nature — repressed and buried in my bone marrows.

i'm sorry it took me so long to realize this, my love. i am coming home now. ❤️

My love is the shape of canine teeth and claw marks
I leave around your neck,
the way I leave poems decaying in an unforgiving landfill —
the gods have turned away in disgust
as I sit and lick, like a rabid dog,
the maggots chipping away from the inside —
the entrails of my grief, all pulled out without mercy,
without a deathbed confession,
without a god to listen.
I long for something else to unfold;
something sacred and beautiful
when you turn my body inside out, but lo.
This is as deep and far as we go.
Tell me, I beseech, does my filth look better inside out,
uncovered, on display,
penetrating your very skin?
Take what you need, love, they are all yours —
my sins, my wounds, my impiety
in exchange for your darkened heart — I’ll spit it out
and swallow it back
down to my underbelly where no one can ever take it —
not you, not the gods, not their fallen, forsaken angels.

Forgive me — forgive me, forgive me, forgive me.
Forgive my unforgiving hands, forgive my unforgiving poems
if our sick, twisted, defilement is all they ever know.

to kiss you senseless until i am a seaglass buried deep inside your skin. to lick salt off your palms with paper-cut lips, until each breath has gone haywire. to quietly sigh your name until it baptizes my heathen tongue. oh, the wars i would start; the wars i would end — darling, there is something soothing about all the violent ways i can love you.

I have a bad habit
of falling for
messed up people.
Maybe it’s because
my own sadness
recognizes theirs.

So darling, let's fall in love

and apart.

my wasting bones are unsettled by kisses. how your lips graze my paper skin and i am an origami crane — catching fire in waking sunlight. watch me love you terribly. kindly. fatally. watch all of my shadows burn bright for you, my darling, into the sweetest, sun-soaked surrender.

i've always loved you one way or another. i break out of your ribs only to bury myself back in. i've always loved you one way after the other. everything else is a fleeting state — cruel, fluid transience leading me back to you.

some ghosts you just miss, darling — some ghosts, you'd die just to see again.

Such a classic mortal blunder to lay
my spine as it erodes, graceless, inelegant
on Galatea’s cold, ivory arms;
such delicate carvings can never be human, look human,
feel human under my lonesome bones.

I long to see you flinch and break
into fine, liquid, rain of dust blinding me,
covering the walls of this room
in a blameless shade of white: a new asylum ward
for my kind of insanity,
you say.
It envelopes like light around my awe
and my forlorn limbs,
tangled with Galatea’s unmoving ones.
I look for comfort within brittle carcasses
scraped of everything they could ever give.

The quiet persists eerily.
But here, Pygmalion’s gifts remain untainted:
the apex of auger shells, the beak of a songbird
the blunted ceriths, the rusty chisels
all impaling my spinal bones.
Yet the sculptor’s kisses, long erased,
the careful carvings, long defaced,
long reduced into a Grecian ruin.
I bury my body on your arms yet they find no rest
against the ghostly pleas of mammalian tusks.

How many for your fingers?
How many for your hair?


Tell me, Galatea, were you carved to bear the weight of
all the sea salt I swallowed as I drowned?
Soften under my meandering thoughts; I long
to see you flinch and break — like all the dead elephants —
any reminder that you yield pliantly to the voice
of the love goddess, that you were once turned human.
Break now, your solid arms, under my own collapse
over the sea foam caught on fire.

I am no longer bending and weeping to pick myself up.
Here it all goes down and ends:
my bones,
and yours,
burning,
snapping.
Nothing —
nothing less glorious will last after us.

— Fray Narte

the weight of your breaths is burning its way inside my skin. this is a catastrophe we're in now, darling, and i resemble all of your crestfallen asters, dried and dusty in your altar — now caught in a forest fire. this is a catastrophe we're in now but heathens like me don't burn down, and i have loved you with such fatality i didn't once possess. i have loved you like stray dust in lilac vapors. i have loved you, like stray wind in a firestorm.

this is the calm we're in now darling — and i have loved you to the point of no return.