The Cleansing (Holy Monday) — a short play

Characters:

Mary and Martha
Jesus
Judah Ben-Hur

The scene is the Mount of Olives; Jesus sits on a stone bench staring forward; Mary enters, followed by Martha.

MARY (to MARTHA).
I’ve found him.

MARTHA.
Where?

MARY.
Sitting right here like nothing happened.

MARTHA (to JESUS).
What do you think you’re doing?

JESUS.
Watching.

MARY.
For what?

Jerus-n4i

Temple of Herod, Holyland Model of Jerusalem.

JESUS (pointing).
The Temple is about to fall; soon
not one stone will be left upon another.
Watch here and see for yourself.

MARTHA.
Nonsense.

MARY.
Let’s run.
Your disciples have fled already.

JESUS.
Why run? What’s the danger?

MARY.
After what you did just now?

MARTHA.
You’re joking!

MARY.
The Temple guards—
they’ll find you here and take you!

JESUS.
No. Not today. My betrayal is still
four days away—I’m safe till then.
Do you know how my Father makes figs?

MARY.
No parables, please!

MARTHA.
Not right now!
Let’s hurry home to Bethany
where we will all be safe
and you can tell your stories
and I can make you dinner
while she sits at your feet
doing nothing as usual.

Jacopo_Tintoretto_008-2

Tintoretto: Jesus at the Home of Martha and Mary.

JESUS.
Since you’re curious, I’ll tell you.
My Father sinks his mighty hand
into a soft shaft of sunlight
as if it were riverbank clay—
like this, you see? And he seizes
a warm, pliant fistful of it
and squeezes it tight—like this.
See how the yellow light
oozes out between my fingers?
He holds the sunlight fast
a little while—just like this—
then slowly loosens his grip
to reveal a ripe and luscious fig
that tastes just like the sun.

(JESUS opens his hand to reveal a coin)

MARTHA.
But I don’t see a fig.

MARY.
I see a coin with Caesar’s face on it.

(JUDAH BEN-HUR enters.)

Denarius_of_Tiberius_(YORYM_2000_1953)_obverse

Denarius of Tiberius, known as the tribute penny.

MARY (to JUDAH).
Go away!

MARTHA.
He’s innocent!

MARY (to JUDAH).
You’ve got the wrong man!

JUDAH.
Foolish women—what do I look like?
A priest, a Temple guard, a stooge
of Herod or Pilate, either one?

MARTHA.
Who are you, then?

JESUS.
I’ll tell you.
His name is Judah, a son of Hur—
an angry soul, filled with hate.
The friend he most loved in his youth
betrayed him into Roman slavery;
he was chained for three years
to a galley’s oar; but he won freedom
and became a Roman citizen;
yet still he remains a Jew—
the most bitter Jew in Israel.

MARY.
You’re bitter yourself today.

Miracleofthefig

Byzantine icon of Jesus cursing the fig tree.

JESUS.
So I am. I wish I knew why.
(to JUDAH)
I killed a tree this morning
an innocent fig tree just outside
the city gates. A strange thing to do.

MARY.
It bore no figs.

MARTHA.
It’s not the season.

JUDAH.
You’re a carpenter, and a carpenter’s son;
that wasn’t the first tree you’ve killed.
Learn to kill men, my Lord.
It’s the one thing I have to teach you.

JESUS.
Can you teach me to kill men without rage,
the way a carpenter kills a tree?

JUDAH.
What you did just now at the Temple—

1024px-El_Greco_13

El Greco: Christ Driving the Money-Changers from the Temple.

JESUS (interrupting).
A mistake. The Temple now
belongs to Caesar, not my Father.
I had no business there at all.
Its time is over—in moments now
a breath of icy love will send it
crashing under its own weight,
the weight of this world’s greed.

JUDAH.
The Temple won’t fall—not till
you bring it down yourself.
The moment is now—you mustn’t wait!
The money changers’ backs are stinging
from the whippings you gave them,
and they scuttle about like scorpions,
grubbing up the coins you spilt
when you overturned their tables—
denarii, drachmas, darics, shekels,
the currencies of all the world
jumbled in gibbering heaps,
worth nothing until they’re sorted
and weighed anew. All commerce
is suspended—and all authority,
the power of priests and Rome alike.
The time is here—this very moment—
to cast off the yoke of Rome,
to lift up the poor and crush the rich,
and make of Israel the Kingdom
that you yourself have promised.

JESUS.
And you’ve raised three legions
to bring me victory. Right now
they mingle like cutpurses among
these millions who have come
to Jerusalem to celebrate
the Passover.

JUDAH.
How did you know?

ramon novarro-1

Ramon Novarro as Ben-Hur, 1925.

JESUS.
Three years you followed me
with thousands of men with knives
in their belts. I wasn’t supposed
to notice? While I sought farmers
and fishermen and tax collectors
and mothers, wives, and harlots,
you gathered soldiers. You trained them
in the lava beds—to guard and strike
with their fists, to cut and thrust
with javelins and swords,
an army of Galileans styled
like Romans to destroy the Romans.

JUDAH.
Your army—the Kingdom’s army.

JESUS.
Are you sure they are enough?
Do they have spears that hurl themselves
from tunnels forged from iron
and tear men’s bodies to pieces?
Do they ride winged chariots
that drop fire from the sky,
consuming cities faster than thought?
Can you make the winds themselves
breathe writhing and devouring death
into your enemies’ bones?
Can you unleash the power of the sun?
Do you have an arm like God?

JUDAH.
Rabbi, why all these riddles?
Why do you brood and wait?
Rome’s power is puny beside yours.
Rise up now, work miracles
to liberate Israel—the kind
I’ve seen you work a hundred times.

JESUS.
Miracles? What miracles? Tell me.

JUDAH.
You’ve healed the sick and lame,
the palsied and the paralyzed,
cast out devils, made blind men see;
you cured and cleansed my own
dear mother and sister of leprosy;
and Lazarus, these women’s brother—
he died, you gave him life again;
and when a multitude was hungry
you fed them, all of them.

200px-FeedingMultitudes_Bernardo

Bernardo Strozzi: Feeding the Multitudes.

JESUS.
Wait—I fed a multitude, you say?

MARY.
Of course you did.

MARTHA.
You know you did.

JESUS (to JUDAH).
Were you there?

JUDAH.
Right near you, yes.

JESUS.
So tell me—how did I do it?

JUDAH.
My Lord, everyone knows—

JESUS.
No—not what you’ve heard,
but what you saw and felt and did.
I want to hear it.

JUDAH.
Five thousand gathered by the sea
to hear you speak—but where
was food enough for them to eat?
Two hundred denarii would not buy
enough bread for that multitude.

JESUS.
And you—did you lack food as well?

JUDAH.
No. I’d brought bread of my own,
and so had others, but not most;
thousands more were waiting, hungry.
Then Andrew found a boy who’d brought
five loaves of barley and two fishes.
You told the multitude to sit
and gave thanks to your Father;
you broke the bread and gave it to some,
and you gave away the fishes,
and then … Oh, Lord, I am ashamed.

JESUS.
Tell me.

JUDAH.
I’d had no wine, and yet
I became drunk—drunk and hungry.
I tore my own bread, stuffed my mouth,
and then …

JESUS.
Tell me.

JUDAH.
The old man next to me—
his hunger became mine,
his wrinkled lips, his aching belly,
I felt his craving as my own.
And on my other side, a mother
unfed, her baby at her breast—
I became her too, I felt the grip
of her baby’s gums pulling her dug,
felt the dryness inside her.
And then … Oh, Lord …

JESUS.
Tell me.

JUDAH.
I rose stark mad to my feet, reeling
with bounty and munificence,
and tore my bread and crammed
some in the old man’s hand, then
in the mother’s too, and staggered
giving amid the multitude
while others, as drunk with love as I,
reeled all around me, giving
and receiving much, much more
than all their fill. And then—
and then when it was all done …

MARY.
Twelve baskets were left brimming
with bread and fishes …

MARTHA.
… the leavings after
the five thousand were sated.

JUDAH.
But I … Oh, Lord …

JESUS.
Tell me.

JUDAH.
Such horror of great brightness!
I was sick to my soul, lost to myself—
lost, all lost, the son of Hur,
his lonely desire, the solitary
warrior thirsty for vengeance,
all gone, my precious life was gone.
I ran down to the Galilean shore
and retched up all I’d eaten until
I was alone in my own skin
and not filled with a multitude
made drunk with lovingkindness.

(JUDAH is weeping.)

JESUS.
Leave me now, Judah—go.
You have chosen another way.

JUDAH.
How can you be so indifferent?

JESUS.
What do you think I am?

JUDAH.
You are my King, Israel’s King,
much mightier than Caesar,
more splendid even than Solomon—
a king to rule the world forever.

JESUS.
I am a door. A door is indifferent;
it makes way to everyone.

(MARY and MARTHA begin to reel about, as if drunken.)

MARY.
What’s this?

MARTHA.
What’s happening?

MARY.
The ground—it rolls and shakes.

MARTHA.
I can’t stay on my feet.

MARY.
I can’t either.

(JESUS and JUDAH seem undisturbed by the forces felt by MARY and MARTHA.)

JESUS.
Dance, then.

MARTHA.
Yes!

MARY.
If we can’t stand, we’ll dance!

(MARTHA and MARY dance wildly to silent music.)

Wallace_Ben-Hur_cover

Original edition of Ben-Hur by Lew Wallace

JESUS (to JUDAH).
All love is cold and open.
I am the open door of love;
to pass through, open yourself,
go naked through the cold,
or else consign yourself forever
to the Kingdom of Caesar.

JUDAH.
Forever?

JESUS.
Each moment is forever;
the Temple is always standing;
the Temple is always falling.

MARY (pointing).
Look!

MARTHA (pointing).
Look there!

MARY.
The Temple!

MARTHA.
It’s dancing too!

MARY.
No, it’s falling!

MARTHA.
Its white stone frowning faces,
its porticoes, pinnacles, ramparts …

MARY.
… all breaking, breaking
like twigs in children’s hands!

MARTHA.
The sacred veil tears clean in two …

MARY.
… the Holy of Holies now
stands revealed …

MARTHA.
… now disappears
into the vaults below …

MARY.
… and dust clouds billow skyward!

MARTHA.
The air rings with falling stone …

MARY.
… the thunder and music of love!

MARY.
Let’s go there—before the dust settles!

MARTHA.
Yes, we’ll dance among the clouds!

(MARY and MARTHA hurry away.)

JESUS (to JUDAH).
Hatred is soft and sweet;
love is hard and bitter.
My time in this place is done.
The friend I love most of all
will soon betray me out of love—
cold and indifferent love,
strong and unyielding love,
the biting kiss of love.

(JESUS leaves; JUDAH stands alone, facing forward.)

JUDAH.
But the Temple—it still stands!

END OF PLAY.

—Wim

Two new poems …

NASA astronaut Nichole Ayers captured this image of lightning while orbiting aboard the International Space Station on July 1, 2025. 

Wim is grateful to the editors of Scud for publishing these two poems:

Beacon

They say you can see
futility from space—
the flickering
bioluminescent SOS
of a solitary storm cloud
bursting over
an infinite ocean.

A Passion

In the old woman’s
airtight home (which
she never left except
to go to church) our
druggist savior forever
stretched his arms
in benign and ruined
ransom across the
living room wall above
worshipping masses of
medicine bottles.

—Wim

“The Harrowing” — Wim’s variation on the Frankenstein story…

Drawing by Pat.

As a storyteller, I’m always looking for new approaches to old stories. I don’t know how many times I’ve read Mary Shelley’s Frankenstein, but one episode in particular never fails to shock and horrify me.

Poor Justine Moritz! Rescued by the Frankenstein family from poverty as a child, she grows up to become their loyal servant. But after Victor Frankenstein’s creature vengefully murders the family’s youngest child, Justine finds herself accused of the crime. Victor knows that she’s innocent, but can’t bring himself to come forward with the truth. Justine is tried, found guilty, and hanged for murder.

I decided to write a play about Justine called The Harrowing, subtitling it “A Rhapsody on a Theme by Mary Shelley.” In my retelling, Justine is a bitterly alienated young woman, exploited horribly by the Frankenstein family and all too aware of her lowly status. One night she encounters the monster (called the Demon in my version) who shows her the murdered boy’s body. She reacts with horror at first, but soon recognizes the Demon as a kindred spirit, a fellow casualty of a cruel and unjust world. Before the night is over, they have become lovers.

The first half of The Harrowing was presented via Zoom in 2022, with the late Everett Quinton as the Demon. A staged reading of the entire play was performed in New York on October 2, 2023, at the Theater for the New City in New York. You can download the complete script for The Harrowing here.

In the following scene, the Justine and the Demon hold a macabre picnic near the murdered boy’s body.

The late Everett Quinton as the Demon in a Zoom performance of The Harrowing; photo by Denise Gregorka.

(JUSTINE and DEMON sit on the spread-out blanket, eating berries and nuts in the moonlight. DEMON is drinking straight from a bottle of wine. JUSTINE looks over at William’s dead body and smiles.)

JUSTINE. Willy, dear, won’t you wake up? You must be hungry. Would you like to join us for something to eat?

DEMON. He isn’t asleep.

JUSTINE. I know. But let me have my little lie. I have so few of them left. The world is getting crowded with truth. Sleep on, sweet Willy, don’t let us grownups disturb you.

(JUSTINE and DEMON eat a few bites.)

JUSTINE. Where did you get these nuts?

DEMON. I took them.

JUSTINE. From where?

DEMON. A tree.

(JUSTINE and DEMON eat some more.)

JUSTINE. What about these berries?

DEMON. I took them.

JUSTINE. From where?

DEMON. Some bushes.

(DEMON passes the bottle to JUSTINE, and she drinks from it.)

Frontispiece to the 1831 edition of Frankenstein.

JUSTINE. Where did you get this wine?

DEMON. From a house.

JUSTINE. Inside a house?

DEMON. Yes.

JUSTINE. How did you get inside?

DEMON. I just went in.

JUSTINE. Did you take the wine, or did you … ask somebody for it?

DEMON. I don’t understand.

JUSTINE. Was anybody in the house?

DEMON. No.

JUSTINE. Where did you find the wine in the house?

DEMON. On a table.

JUSTINE. You shouldn’t take things from houses like that.

DEMON. But I took nuts from the tree.

JUSTINE. I know, but—

DEMON. I took berries from the bushes.

JUSTINE. I mean from people. You shouldn’t take things from people like that.

DEMON. Oh. (drinks from the bottle) I don’t think I understand. I was hungry, and I needed something to eat. There were nuts on the tree and berries in the bushes. What could I do but take them? I was thirsty and I needed something to drink. There was wine in the house, so I took it. What was I supposed to do?

JUSTINE. You should have asked the people who lived there if you could have it.

DEMON. Would they have given it to me?

JUSTINE. I … don’t know.

DEMON. Do people … often … give things to others?

(Silence; JUSTINE takes the bottle from him and drinks from it.)

JUSTINE. You were right and I was wrong. It’s best to take. Everybody takes, and nobody’s likely to give you anything, even if you ask. People have been taking things from me my whole life without asking. They don’t give anything back, even when I ask.
I suppose that’s why I have so little. 
I don’t do enough taking.
I should have known, the truth was all around me.
Taking is the way the world works.
What a fool I was.

(JUSTINE takes long swallow of wine, then passes the bottle to the DEMON.)

JUSTINE. I’m going to be drunk. You should get drunk too.

DEMON. Drunk?

JUSTINE. You’ll know it when you feel it.

—Wim

Illustration from an abridged version of Frankenstein in the The Cincinnati Enquirer, January 16, 1910.

Long John Silver’s Parley — a dramatic monologue

Let none admire
That riches grow in Hell: that soil may best
Deserve the precious bane.
—John Milton, Paradise Lost

“Them that die’ll be the lucky ones.”
—Robert Louis Stevenson, Treasure Island

We godless devils want the treasure map;
you good and godly fellows want to live.
It’s fair straightforward bart’ring, Cap’n Smollett,
with not much elbow room for give nor take.
We’ll crush this stockade underfoot like a snail.
Give o’er the map, and we’ll give o’er your lives—
a bargain all around, no need for losers.
But this here handkerchief’s my flag of truce.
May I set myself down on this tree stump?
My crutch gets tired from holding up my carcass.

Now pay good heed to this bird on my shoulder.
“Pieces of eight! Pieces of eight!” he caws.
Old Cap’n Flint here wants to mediate,
and we could do worse for a diplomat;
his squawking’s scarce the nonsense you may think.
He’s old—no, older—than the briny sea.
He perched on the gloved hand of Francis Drake,
the greatest buccaneer that e’er there was,
knighted by the Virgin Pirate Queen
Elizabeth herself, who might as well’ve
unfurled the Jolly Roger to wave above
the decks and timbers of her Sceptered Isle—
for what was England in those golden days
but the yarest pirate ship ever sailed?

“Pieces of eight” he croaks, again, again,
till one gets sick at heart of hearing it.
But what else ’tis for anyone to say?
The tallied sum of all accounts is stowed
in that taut turn of words—“Pieces of eight.”
Cap’n Flint remembers when ’twas first spoke,
“Pieces of eight,” after the Fall from Eden,
when sons of men burrowed to fall still farther.
His lum’nous plumage cast its precious light
in the bowels of the first mines ever dug
at the orders of the hunched angel Mammon,
cast out with Satan and his warrior hordes—
Mammon, whose rum-drunk eyes gaze ever downward.

That was the first piracy, I’d maintain,
despoiling Mother Earth of what was hers
and hers alone—pound by pound, ton by ton,
nuggets and ingots and wagons and shiploads
of her tender flesh, while Mammon conducted
the hellish miners’ chorus: “Pieces of eight.”
’Twas then this parrot learned his wretched song.

But let’s scan your thinking, as best I take it.
You’ll do honest with our stolen treasure
if you can dig it up before we do.
Perhaps you’d give it back to them whose throats
we cut for it—but were it wise to go
hunt them out in their current whereabouts?
I hear it’s fiendish hot down in their tropics,
for those blighters were no angels themselves;
such sinless men as you are a rare breed.

No, you’d rather keep it, and I can’t blame you.
You’re not like us, I’ll be the first to warrant;
you’re decent, well-spoke, clean, and civilized—
and sober, which my men are surely not;
you worship a God way up yonder skyward,
a God my poor brain’s too stunted to reach.
It’s only square for you good honest men
to snatch our stealings into your good care.
But tell me—do two thefts make a right sale,
first by pirates, again by honest men?
Can theft cancel theft, crime unravel crime?
Because what’s plundered has been stolen double
is it legit’mized as a lawful haul?
In short, is it more rightly yours than ours?

Answer this riddle for me if you can:
What gives preciousness to gold and silver
so sons of men covet such things as glister?
Look, in my palm, a doubloon and a Spanish
dollar, minted from gold and silver each.
They don’t so much as twinkle as we spy ’em;
they’ll look dullish till I wipe ’em with spit.
Devious solid to the touch they feel,
and yet so soft and yielding, they would melt
and go to oozing ’tween my greedy fingers
if I so much as puffed my hot breath on ’em.
Such variable metals, gold and silver;
not pract’cal for the skillets, pans, and kettles
employed by sea cooks such as my good self;
too ready blunted to make knives and axes;
prone to bursting when hollowed out and charged
with powder, too heavy for balls of shot;
too scarce to forge into gallows enough
to hang all them that ought rightly to hang,
for who’re the souls that don’t deserve that fate?

But there’s tricks in the alchemy of theft
that makes of sparkling things more than they are.
A coin’s value to a man is in proportion
to what gets wrung out from another’s hands;
its price is weighed by how some poor soul lacks it;
it measures out the emptiness of bellies;
it’s stamped with gaping faces dispossessed—
the sick, the starving, destitute, and slain.
Aye, Cap’n—aught that gets owned is blood and terror,
and we pirates do due diligence by both,
shirking not lives of man, woman, nor child,
but toiling always to earn our proper swag.
Can you kind gentlemen say nigh the same?

It’s time to play my winning hand, good Cap’n.
I’ve not come here for any earnest dealing;
my showing here’s a sham; we two shan’t haggle;
the only settling left to do is slaughter.
I’ve made a fine treaty with Mother Earth
already, for we parleyed in a dream.
I found her the vestige of a grand lady—
Daughter of Paradise, Refuge of Sinners,
Isis Unveiled, Wise Muse of Solomon,
the Lavish Madonna of all Abundance,
enthroned in luxury botanical,
her cornucopia bountiful and brimming,
a twelve-star constellation in her crown,
our round world raised upon her royal scepter.

But she was weary when we met last night,
her diadem drooping, her bright vestments faded,
with tear-shaped pearls upon her pallid cheek
and black-winged sighs heaving out of her breast—
all, all, she says, because of honest men
and the wrongs they wreak upon her creation.

“’Tis honest men, not thieves,” she said, “who bolt
their lowly brothers in shackles, consigning
them to swallow pitch black soot by the lungful
in caves that harvest coal. ’Tis honest men,
not thieves, who choke and suffocate the sky
with smoke from heaps of flaming anthracite.
’Tis honest men, not thieves, who put the fingers
of mothers and their babes to bleeding in
mills fueled by sulf’rous, profitable fires,
mills where raiments of the rich are made,
mills where wealth is manufactured from despair,
mills that weave out of tears and hunger
and disease all merchandises fine and dear,
mills where godliness incubates and hatches,
taking wing in this vale of decency,
of gluttonous virtue and righteous greed.

“Take it all,” she told me. “Reclaim the treasure
from my bosom, and give me nothing in
return but bloody lives of honest men—
more than their lives, give me their shrieking pain,
that they may feel the agony of earth,
the rape of all my innocence and bounty.
Don’t let your cutlasses and daggers rest
until they’re slain, the cursèd multitude
of all the virtuous and honorable
throughout this doomed and damned bedeviled world,
and thieves receive their just inheritance,
for the earth shall be theirs when time gets full.
Then shall my poor heart leap with exultation
and my visage blush sanguine once again.”

—Wim

John Silver by William Nicholson (1872-1949), Characters of Romance, 1900. Poem previously appeared in Open Arts Forum.)

Five new poems …

Wim is grateful to editor Nolcha Fox for including five of his poems—including this one—in Chewers by Masticadores.

The Purloined X

A poem should not mean   
But be.
—Archibald MacLeish

Tomorrow’s assignment
(Mr. Fritz told us,
lo, those many years ago),
is to find the poem’s meaning
and bring it to class,
in cuffs if it resists,
sedated if necessary.

To find its coordinates
(said Mr. Fritz)
make use of concordances—
one for Shakespeare
and one for King James—
and pluck out the heart
of the poem’s mystery
word by word
until you’ve got
the exact latitude and longitude
where the meaning lies in lurk.
And remember,
a poem can only have
one meaning,
like any other equation.
The meaning is x
so solve for x.

But I’d have none of that.

If there was one thing
I already knew for sure
even at that age,
it’s that meaning
can’t be come by honestly,
so I called the cops
who didn’t even bother
with a warrant.
They smashed the door
and stormed right in
and turned the poem
upside down and inside out,
breaking all the furniture in sight—
but still no meaning.

Now I thought I was smarter
when I glimpsed
a folded piece of paper
tucked in a letter compartment
of the rolltop desk
right there in plain sight.
But when I seized it and unfolded it,
it was just a shopping list
for the day’s necessities—

a thing with feathers
a stately pleasure dome
a grain of sand
a wild flower
a red wheelbarrow
a wine dark sea

—just the usual stuff.





But when I went to consult
the little French detective
in his humble digs,
redolent of mildew and a meerschaum,
walls bedecked with Beardsley prints
and Toulouse-Lautrec posters,
he didn’t even have to rise from his divan
to figure it out.

Mon dieu, mon ami!
(he said, pouring each of us a glass of absinthe)
What silliness you talk!
Can you tell me what it is,
this thing you speak of,
this—this meaning?
I can tell you for certain
there is no such animal
as a meaning.  
It is a make-believe creature
for the hazing of—
—how do you call them, you Américains?—
Boy Scouts, n’est-ce pas?
They put a tenderfoot alone
holding a bag by a hollow log
and tell him to stand there waiting
deep in the night
for the meaning
to show his little head,
and they watch
just out of reach of his earshot
snickering to each other,
those comrades of his,
while he keeps waiting there
like an idiot.

No, mon frère,
a meaning is a chimera,
a mere opinion,
and the poem holds opinions in contempt.
The poem is smart,
the poet its useful fool.
Now as for the poem in question—
never having read it
I am quite au fait with it,
for having read one poem,
I have read them all
and know wherein their secrets may be found.

You see, the x you sought
is very big,
the biggest thing there is,
the only thing there is,
and you were—comment tu le dis?—
getting warm
to think you saw it
right where anyone else could see it.
But it wasn’t in plain sight,
it was plain sight.
For a poem is not a thing that means,
it is a handless
springless clock
that tells only the moment,
only what is really there.
It is a thing
that conundrums the sense,
so to speak—
that blisses the heart
and fierces the brain
and verbs its breath into a world.

—Wim

“The letter stolen again,” illustration by Frédéric-Théodore Lix for “The Purloined Letter” by Edgar Allan Poe.