Nightglass

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Summary

Nightglass is a collection of intimate, late-hour poems that map the private geographies of desire, memory, and regret. These poems move through small rooms and wide cities, through bodies and mirrors, tracing fractures where longing becomes language. The voice is candid but careful, balancing sharp imagery with quiet restraint, inviting the reader into confessions that are never fully resolved. Each piece lingers at thresholds—between waking and sleep, between presence and absence—offering a compassionate, unflinching look at what we hide and what we risk revealing.

Status
Ongoing
Chapters
3
Rating
n/a
Age Rating
18+

Chapter 1

I unlock the rented room with a key learned to fit my hand. Streetlight lacquers the window, ledgering small mistakes. My suitcase sighs; the mattress holds a name I do not use. Glass on the bedside table keeps a face I study like evidence, the curve of my jaw proof enough for this quiet.

The mirror is an accusation. I tilt the faucet; water makes a new mouth of the basin, carries away syllables I kept for someone else. A photograph clings to the frame—an arm, a laugh—gone to a year that no longer answers.

A knock becomes confession through the wood. You in the doorway, rain threaded through hair. We trade small truths like coins, stamped with old sins. You smoke; ash maps constellations I mistake for home.

The former lover teaches apologies without naming faults. His hands were maps of departures, pockets folded into departures. I remember a door left ajar—invitation and shut— and how I learned to leave with the lights on.

Beyond the glass the city moves, private failures lit by sodium moons and impatient taxis. A woman folds her coat around a grief I know. A child cries behind a wall I have leaned against.

Dawn will not give absolution; it arrives like inventory taking. I sit with the glass and count what remains: taste of smoke, the shape of your absence, the honest bruise of regret, the small ledger of choices I could name if I were kind. I speak faults aloud—not for penance, but to stop them growing, to keep the monsters divided from my hands. Outside, the city unfolds its light like a lid lifted; inside I gather what I can keep: the tilt of a mouth, the memory of a hand, the willingness to see myself when the mirror finally stops accusing.