“Homesick” by Erik Hadife

Perversion, sang the sea,
in waves. Perversion, sang the wind, leaving the waves
for shore and, past that, the trees, their narrow
trunks branchless until the very top where, if the trees
were scepters, the decoration would be, there at
last the branches appeared, making the trees seem too top-heavy
to withstand a wind, a storm-wind, yet the trees moved
easily back and forth inside it, a bit like dancing when
joy hasn’t been anchored, yet,
to shame — and shame, accordingly,
to inhibition. 7 hawks. 2 coyotes. There’s a lot more

tenderness in you than I think you realize
is what he said to me, as if it weren’t too late, he brought his hand
to my face, but lightly enough that,
should I be in any way upset or frightened,
he could call it an accident — accidents
aren’t mistakes. Memory: not the point, here. We did
what we did. As if there were, as to the body, a muscularity
to understanding, too. We do
what we do. The storm kept storming. On quieter nights,
they went firefly watching, in boats
called fireflies.

Carl Phillips

Carl Phillips is the author of sixteen books of poetry, most recently Then the War: And Selected Poems, 2007–2020 (Farrar, Straus & Giroux, 2022), which won the 2023 Pulitzer Prize. Phillips has also written three prose books, the latest being My Trade Is Mystery: Seven Meditations from a Life in Writing (Yale University Press, 2022). He teaches at Washington University in St. Louis.

Erik Hadife

Erik Hadife (b. 1998, @erikhadife) is a Lebanese street photographer and filmmaker whose work explores the quiet strangeness of urban life at night. He has participated in several group exhibitions, with three more upcoming in Athens, Venice, and Tokyo, as well as one solo exhibition, Nightcrawler, which received extensive media coverage (Yung, L’Orient Le Jour, Khamsa 5, Agenda Culturel) and was staged inside an iconic industrial nightlife venue.  Hadife’s most recent work responds to cities that move faster than our ability to notice them. In public spaces shaped by speed, his photographs slow the pace, drawing attention to fleeting interactions and unguarded moments caught in artificial light.