Nicolette ♡

“Mostly I have felt myself becoming a servant of sadness. I am still looking for the beauty in that.”
― Maggie Nelson, Bluets

“Fragments for Subduing the Silence”

I.

The powers of language are the solitary ladies who sing, desolate, with this voice of mine that I hear from a distance. And far away, in the black sand, lies a girl heavy with ancestral music. Where is death itself? I have wanted clarity in light of my lack of light. Branches die in the memory. The girl lying in the sand nestles into me with her wolf mask. The one she couldn’t stand anymore and that begged for flames and that we set on fire.

II.

When the roof tiles blow away from the house of language, and words no longer keep—that is when I speak.
The ladies in red have lost themselves in their masks. Though they will return to sob among the flowers.
Death is no mute. I hear the song of the mourners sealing the clefts of silence. I listen and the sweetness of your crying brings life to my grey silence.

III.

Death has restored to silence its own bewitching charm. And I will not say my poem and I will say it. Even if (here, now) the poem has no feeling, no future.

Boston Review: Three Poems April 15, 2015”
― Alejandra Pizarnik

“You write poems
because you need
a place
where what isn’t may be”
― Alejandra Pizarnik

“Melancholia is, I believe, a musical problem: a dissonance, a change in rhythm. While on the outside everything happens with the vertiginous rhythm of a cataract, on the inside is the exhausted adagio of drops of water falling from time to tired time. For this reason the outside, seen from the melancholic inside, appears absurd and unreal, and constitutes ‘the farce we all must play’. But for an instant – because of a wild music, or a drug, or the sexual act carried to its climax – the very slow rhythm of the melancholic soul does not only rise to that of the outside world: it overtakes it with an ineffably blissful exorbitance, and the soul then thrills animated by delirious new energies”
― Alejandra Pizarnik