After he died, there was a deep calm to his face; he seemed a kind of unfathomable, still well which opened on and down beneath the suddenly smooth surface of his skin… The heat in him lasted a long time. I loved that heat. I don’t know how long I held his face and his shoulders and stroked him; as he began to cool I kept my hands on his belly, where the last of his warmth seemed to pool and concentrate. Here the fire of the body came to rest, smoldering longest, down to the last embers.

— Mark Doty

And, I think, this greening does thaw at the edges, at least, of my own cold season. Joy sneaks in: listening to music, riding my bicycle, I catch myself feeling, in a way that’s as old as I am but suddenly seems unfamiliar, light. I have felt so heavy for so long. At first, I felt odd- as if I shouldn’t be feeling this lightness, that familiar little catch of pleasure in the heart which is inexplicable, though a lovely passage of notes or the splendidly turned petal of a tulip has triggered it. It’s my buoyancy, part of what keeps me alive: happy, suddenly with the concomitant experience of a sonata and the motion of the shadows of leaves. I have the desire to be filled with sunlight, to soak my skin in as much of it as I can drink up, after the long interior darkness of this past season, the indoor vigil, in this harshest and darkest of winters, outside and in.

— Mark Doty

And I was cooking for three, and teaching, and taking care of a man who’d just collapsed in my house; learning to cook like June Cleaver didn’t exactly seem an option.

— Mark Doty

And then we ease him out of that worn-out body with a kiss, and he's gone like a whisper, the easiest breath.

— Mark Doty

A walk is a walk and must be taken; breakfast and dinner come when they are due. The routines of the living are inviolable, no hiatus called on account of misery, spiritual crisis, or awful weather.

— Mark Doty

Because the golden egg gleamed in my basket once, though my childhood became an immense sheet of darkening water was Noah, and I was his ark, and there were two of every animal inside me

— Mark Doty

Because this painting has never been restored there is a heightened poignancy to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Asia Beer. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knob bed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

— Mark Doty

Being in grief, it turns out, is not unlike being in love. In both states, the imagination's entirely occupied with one person. The beloved dwells at the heart of the world, and becomes a Rome: the roads of feeling all lead to him, all proceed from him. Everything that touches us seems to relate back to that center: there is no other emotional life, no place outside the universe of feeling centered on its pivotal figure.

— Mark Doty

But we have, if not our understanding, our own experience, and it feels to me sealed, inviolable, ours. We have a last, deep week together, because Wally is not on morphine yet, because he has just enough awareness, just enough ability to communicate with me. I’m with him almost all day and night-little breaks, for swimming, for walking the dogs. Outside it snows and snows, deeper and deeper; we seem to live in a circle of lamplight. I rub his feet, make him hot cider. All week I feel like we’re taking one another in, looking and looking. I tell him I love him, and he says I love you, babe, and then when it’s too hard for him to speak he smiles back at me with the little crooked smile he can manage now, and I know what it means. I play music for him, the most encompassing and quiet I can find: Couperin, Vivaldi, the British soprano Lesley Garret singing arias he loved, especially the duet from Lakmé: music of freedom, diving, floating. How can this be written? Shouldn’t these sentences simply be smithereens apart, broken in a hurricane? All that afternoon he looks out at us though a little space in his eyes, but I know he sees and registers: I know that he’s loving us, actively; if I know nothing else about this man, after nearly thirteen years, I know that. I bring all the animals, and then I sit there myself, all afternoon, the lamps on. The afternoon’s so quiet and deep it seems almost to ring, like chimes, a cold, struck bell. I sit into the evening, when he closes his eyes. There is an inaudible roaring, a rush beneath the surface of things, beneath the surface of Wally, who has now almost no surface- as if I could see into him, into the great hurrying current, that energy, that forward motion which is life going on. I was never this close to anyone in my life. His living’s so deep and absolute that it pulls me close to that interior current, so far inside his life. And my own. I know I am going to be more afraid than I have ever been, but right now I am not afraid. I am face to face with the deepest movement in the world, the point of my love’s deepest reality-where he is most himself, even if that self empties out into no one, swift river hurrying into the tumble of rivers, out of individuality, into the great rushing whirlwind of currents. All the love in the world goes with you.

— Mark Doty

Christmas Eve, I give him packages which I open for him, since the bows and paper represent more labor than he could manage: music videos by the Nashville singers he thinks particularly sexy, fleece-lined slippers decorated with images of bacon and eggs, and a book about breeds of dogs. He says he wishes he had something for me to open, but I don’t want anything except to have him here. There’s nothing more he could give me than his life, right now, his being with me.

— Mark Doty