A poem for you:
You have a headache.
I see the pain in your gaze.
It doesn’t need to be so dramatic, you say.
Nothing needs to be, but
a good drama lightens the deadness inside—
I dive into myself,
only for a short while,
lingering in that quiet space
where all attempts cease to exist.
Where my own voice echos
against the ravenous mountains of my chest.
Until I gather the strength
to reach out for your face again.
To follow the lines of your beard,
the roads of your earlobe,
your one loop silver earring…
Not daring, but wanting to venture on your lips;
dark and soft,
shut so tight—
what are you hiding behind them?
I melt into it all
this beautiful landscape.
My poem is too romantic for you,— I know darling
But bear with me for this short moment
for I have worked so hard to cease
the beauty of this painting,
to adore every corner, every hair, every fold of your soul.
It’s way too romantic, you’d say.
I’ll kill it in time darling,
when the dings begin on our phones.
But let me be
for this short moment,
my cheek pressed against your chest,
my hand on your face.
This moment has not come easy for me.
Nor was it born,
out of pure chance,
or fate, as lovers tend to claim.
It is the masterpiece
of years of carving you out
and myself,
piece by piece,
brush by brush,
cut by cut.
Rome, 2025
We’re doing another panel on activism at IARPP’s upcoming conference in Merida, Mexico with Bettina and Stephen Hartman— dream team ✌🏼
Looking forward also to another great candidates panel with panelists from Iran , Mexico & Canada 👌🏼
#psychoanalysis #relationalpsychoanalysis #politicalactivism #iarpp2024 #iarpp
@iarppespana @IarppMexico @iarpp_pt @iarppbuenosaires @IARPP@iarpp_chile
We’d just returned from watching “Perfect Days”. We gatherered in the backyard.
“No one looks up these days anymore,” one of us said.
So I looked up and this is what I saw.
It was a perfect day.
From a work in progress:
“Early spring days were the most dangerous, bringing with them a moist air of nostalgia for something as far away as Japan was. Her mind was flying away with Sousan, like a blind owl at night, unable to land anywhere. It registered Matt’s hand on her lap for another familiar hand from the past— on a cab in Tehran, Blind Sousan playing from the stereo, louder than the traffic.
And she let this other hand take shape in her mind. A neighbour boy she had loved in Tehran as a young teen when they stilled lived in the rental, a few years before she left the country— robust and tough on the outside, but so hesitant on the backseat of a cab.
When she held this boy’s hand resting on her thigh without taking her eyes off the crowded city passing by her window, she sensed the linear scar between his thumb and index finger.
“Defending myself,” he had told her, “against a motherfucker with a pocket knife.””
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