Might I but moor – Tonight – With Thee

Fast and flimsy sex and still not
able to sleep, but she has fallen –

under the covers to the other world.

I move down the cold, dark passage
where every move I make echoes twice.


I was reading about Thomas Wentworth Higginson, who prepared the first edition of Emily Dickinson’s poems in 1890. He wrote to his co-editor: “One poem only I dread a little to print – that wonder ‘Wild Nights,’ – lest the malignant read into it more than that virgin recluse ever dreamed of putting there. . . . Yet what a loss to omit it! Indeed it is not to be omitted.”

That comment made me look at the poem again and think about Emily – that virgin recluse – fantasizing in her room one night when she couldn’t sleep.

Emily’s poem:

Wild Nights – Wild Nights!
Were I with thee
Wild Nights should be
Our luxury!

Futile – the Winds –
To a Heart in port –
Done with the Compass –
Done with the Chart!

Rowing in Eden –
Ah, the Sea!
Might I but moor –
Tonight – With Thee!

Emily Dickinson

Day For Night

It is a trick of the filmmaker.

Underexposed in-camera or darkened during post-production.

Daylight masquerading as night, with blue tint.

Friendship for love, or sex for passion.

I know both on this American night.


Jacqueline Bisset and J

Jacqueline Bisset and Jean-Pierre Léaud in La Nuit Américaine

“Day for night” is a set of cinematic techniques used to simulate a night scene while filming in daylight. I learned about this deception when I saw Francois Truffaut‘s 1973 film, Day for Night whose original title is La Nuit Américaine meaning “American night” which is the French term for day-for-night shooting.