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1 min read
No one had entered.
Not the deer.
Not the wind.
Not even the fallen rain,
which lay in the leaves
as if listening.
Then light came down
through one torn place
in the trees
and found the moss.
It did not shine.
It stayed.
A thin gold weight
on the green rot
of the world.
Far off,
a bird made one sound
and the silence
closed around it.
The fern held
its small curled fist.
The stone kept still.
A beetle crossed
the lit vein of a leaf.
Nothing asked
to be seen.
Nothing changed
because it was seen.
Yet for that moment
the dark earth
lay open.
Light had touched it.
That was all.
And when the light withdrew,
the place did not darken.
It became
what it had always been—
found once,
left whole,
and never owned.
—
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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.