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1 min read
Before I speak to you,
breath crowds the dark
behind my teeth.
My tongue lifts,
finds its place,
waits.
I thought I could shape it
cleanly—
give air an edge,
weight it with my tongue,
send it to you
as something mine.
But the mouth closes
around what it means.
The tongue turns once,
as if listening.
Even these teeth
close on an edge
they never cut.
The word stops,
held at the root.
I try again.
Breath enters
without asking,
and the tongue falls
into a shape already worn.
The mouth opens.
What it has gathered
leaves on its own breath,
the word moving
toward you.
—
The Debt of Being Here · Series introduction · From the Workroom
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18 min read
Some of Angkor’s most intimate ruins do not rise above the ground at all. They are postholes, low mounds, hearths and ponds: durable traces of a domestic city built largely from things that decay. To restore that city is to see Angkor not only as stone, but as wood, smoke, water, repair, and people living within calling distance.

5 min read
I had mistaken a gift for something being expelled.
Beneath the nāga's mouth, a stone garland descended bead by bead. Nearby, a makara opened its jaws and another form emerged. Looking closer, the whole temple began to change: serpent became ornament, ornament became architecture, architecture became foliage.
The forest did not introduce this language.
It answered it.

2 min read
Seven daughters have already been taken by Yamata-no-Orochi when Susanoo reaches the River Hi. Only Kushinada-hime remains. The Eighth Daughter retells the Kojiki episode through a family’s waiting, a girl transformed into a comb, and the patient preparation for the serpent’s return.