Lux Crescens

The light returns in fractions—
a minute portioned back today, another
tomorrow. I keep the count,
though clouds obscure the evidence:
three minutes banked by New Year’s,
another half-minute folded in,
five more by Epiphany.

The cold arrives in earnest now:
lake effect, the wind that finds
every weakness in the house’s skin.
But the light grows. The sun
keeps its promise without display,
deposits made, retained, compounded.

I watch for five fifteen, for when
darkness once took the day entire.
Now it hesitates. Now it waits.

February measures what accumulates:
an hour restored, perhaps more.
Afternoon lengthens itself,
light touching the sun room wall
at angles I had forgotten. Still
the snow, still the grey insistence
of overcast—but something
fundamental has shifted.

The sun climbs higher, stays longer,
asks nothing in return. This is not
spring—spring lies, breaks its word
too often to be trusted. This is
mathematics, planetary tilt,
the faithful working of the world’s
ancient machinery.

I am owed nothing.
I receive these minutes anyway.

March brings the balance: day and night
held even, aequinoctium.
The light has kept its promise
minute by minute, fraction
by fraction, until the ledger clears.

Not triumph—the cold can still
return, and will—but equipoise:
that moment of level standing
before the light tips into majority.

I have done nothing to earn this
except continue, except persist
through diminishment, watching
the slow reversal, the patient return.

The light grows still.
The light keeps growing.
The promise is not finished.

A Skipping Stone

A skipping stone, chosen with care by human hand,
breaks the still glass of lake serene;
for stones remember what time forgets,
and in their flight, recall all the more.

What does it remember?
The molten cradle of its birth beneath the sea,
the mountain’s shattering rise from the deep,
the patient sleep in riverbed and shore.
The warmth of the palm that cast it forth,
the whisper of air between each skip—
and how, in falling, it becomes again
what it has always been:
stillness beneath all motion.

At the Crossing: On Language, Perception, and the Haunting of Truth


Léon Spilliaert, Vertigo (1908)
Indian ink brush wash and colored pencil on paper
Léon Spilliaert, Vertigo (1908)
Indian ink brush wash and colored pencil on paper, 64 × 48 cm.
Kunstmuseum aan Zee, Ostend, Belgium.

At the Crossing

by Donald S. Yarab

Words
gather like dew on dawn’s edge,
names unspoken, waiting to be born.
They tremble in the mouth of silence—
a stillness before the world.
But say them, and they splinter—
what was whole becomes approximate.
Each syllable divides the light
and leaves behind shadow.

Color
can have no truth—
for truth demands a stillness
color will not grant.
It shifts with light, with eye,
with sorrow or with song.
If it were true, which hue would reign?
Whose gaze would be the measure?
It is not fact, but feeling—
not essence, but event.

Touch
is first knowing,
before word, before sight.
It does not describe—it confirms.
Yet it deceives:
a surface hides a wound,
a hand may linger, then withdraw.
What truth lies in contact—
in pressure, in pulse?
Or is touch merely the place
where self and other collide
and pretend to know?

Sound
resonates not in air alone,
but in the hollows of the soul.
One hears hymn, another wound.
Its truth lies not in frequency,
but in the body that receives it—
in bones that tremble,
in hearts that flinch.
Which is the true tone—
the one that soothes, or the one that sears?

Time
marches allegedly, metronomic, proud—
but to whom does it keep this beat?
To the grieving, it halts mid-breath;
to the joyful, it slips its leash and runs.
Some say it flows;
others drown without a ripple.
Perhaps it does not move at all—
perhaps we shift,
casting shadows on still walls
and calling them hours.

Truth
cannot be summoned by sense,
nor sealed in proposition.
It glimmers, briefly,
when doubt is honored,
when contradiction is not flaw but form.
Truth is not what endures,
but what survives the testing—
a trembling filament between worlds,
not the anchor,
but the thread.

Intersection
is not a place but a moment—
when word is heard,
when color wounds,
when sound divides the silence,
when time dissolves into breath,
and touch recalls the nearness of all things.

And there—
at that trembling margin—
truth does not appear.
It haunts
the space where meaning almost forms.