Some things are too whole
to be spoken.

A look.
A breath that almost turned into speech.
The way your shoulder moved
  before the apology
  that never arrived.

We speak so much
  just to hide
  what we actually feel.

But the unsaid —
 it sits quietly
 in the space behind your teeth,
 in the silence between names.

It doesn’t fade.
It settles.

I remember the pause
 more than the sentence.
The moment before
 you almost said
    “don’t go.”

But didn’t.

And that
  has echoed longer
    than any goodbye.

What we don’t say
 doesn’t disappear.
It becomes
 the resonance
    beneath everything we do.

You don’t have to invent it.
You never did.

The shape,
the sound,
the word —
they already exist
somewhere between breath and shadow.

You are not the maker.
You are the listening.
The soft animal that lets it pass through
  without tightening.

If it comes,
let it.
If it leaves,
don’t chase it.

You are not here
to hold it forever.
Only to host
  its becoming.

When your hands shake,
when nothing feels certain —
that may be the exact moment
you’re finally transparent enough
  to carry something real.

Don’t fill the silence too quickly.
Don’t rush to say it right.

Let it move
  through the ribcage,
    through the spine,
      through the wrist —
like wind
         learning your name.

She was drawing,
not for anyone.
Not even for herself.

Just…
  because her hands needed to move.
The pencil didn’t ask for approval.
It didn’t perform.
It just followed
 whatever was humming
  beneath her skin.

I’ve seen someone dance
 in the middle of cleaning.
Not to music.
Just to rhythm.

A private conversation
 between body and gravity —
 I was only
  accidentally
   invited.

There’s a holiness
 in the movements people make
  when they don’t know they’re being seen.

Not holy because they’re beautiful.
But because they’re untranslated.

They’re not trying to mean something.
They just are.

I’ve started collecting these moments.
Not in pictures.
Not in notes.
Just —
  in the place behind my ribs
  where wonder stays
  when it’s too quiet to name.

Long after the music ends,
 the body remembers.

Not the melody —
 but the weight of it.
Where the shoulders softened.
Where the fingers held a pause.
Where breath curled around a silence
  and didn’t let go.

The body doesn’t archive like the mind.
It doesn’t recall in sequence.
It remembers in tension.
In residue.
In the way your spine knows
  when something is about to fall.
In the twitch that follows
  a note that’s already gone.

Sometimes, I move like something
  I once heard.
Not consciously.
Just —
  a rhythm finds my step
      years later
      and walks me home.

There are gestures
  I no longer know the names for —
 but my body still offers them
  like a language it trusts
      more than thought.

Maybe this is how memory stays kind:
  not by being exact,
  but by letting itself
    be danced.

Some sounds do not belong to instruments.
They live just after.
Or just before.

The echo the piano makes when no one is touching it.
The hum of a string not struck
 but shaken by something nearby.

The part of a voice
 when the singer forgets they’re being heard.

Sometimes the most important sound
  is the one that wasn’t played —
    but was felt
      in the hand that almost moved.

There is a kind of music
  that only exists
    inside the listener.

I’ve heard more truth
 in the seconds between chords
 than in the chords themselves.

Because those seconds
    aren’t performed —
    they leak.

And maybe that’s where the music
  stops pretending
  and becomes real.

he tries to play the Moonlight.
or — almost.
only the beginning.
only a trace.

the sonata
in uncertain hands —
like a whisper
afraid of itself.

but in that awkwardness —
the whole truth.

not precision,
but body.
not mastery,
but contact.

it’s not him playing,
but more like “I not-I.”
and the music
recognizes itself
in every imprecise touch.

maybe
this is how
a true sonata sounds:
in attempt,
in jest,
in fragile almost.