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小鳥の歌 28

Time in suspension
Waiting for the next moment
Excited, afraid
Oh, my breath is stripped away
In exquisite agony

Note: Link is breath of air to breath stripped away. I wrote this while watching the last few minutes of the 2016 World Series with the Chicago Cubs versus the Cleveland Indians. The Cubs won by 1 point during an extra inning AFTER a rain delay, breaking an 108 year record of losses. I’m not a huge Cubs fan or anything, but I did live in the Chicago area for a couple of years when I was little, and have visited there often, so I’m very happy for them.

小鳥の歌 27

Kinsukuroi
Knit up with glistening gold
My heart is mended
Yet still so very fragile
Broken with a breath of air

Link: Falling apart at the seams to Knit up with glistening gold. Kinsukuroi 金繕い (also known as kintsugi 金継ぎ) is a process where broken ceramics are mended by using gold as a binder. There is no attempt to hide the fact that the ceramic piece was broken, but instead, the imperfection is recognized and celebrated.

小鳥の歌 23-26

Eternity waits
It is unkindly patient
And will not be rushed
But we who are mortal strain
To constrain every minute

A trap, a rope to
Tie me with, I will not lose
My freedom this way
Entice me with your smiles
Enfold me in your warm arms

Arm for a pillow
I gaze at your sleeping face
Noble in repose
Alas, I cannot stay long
The night passes in patches

Passing in patches
The night is stitched up roughly
Like a well-worn quilt
Falling apart at the seams
Barely holding together

Links: 23 “each breath an eternity” to “eternity waits”
24 “Constrain” to “a trap, a rope to tie me with”
25 “enfold me in your warm arms” to “arm for a pillow”
26 “Passing in patches” to “stitched up roughly”

小鳥の歌 22

Every night and all
Some cry, some pray, some seek peace
Within another’s arms
Autumn’s widening shadows
Each breath an eternity

Link: Okay, this one is a little obscure: The living and the dead to “every night and all”, which is part of the chorus of the Lyke Wake Dirge.

My favorite version of this ancient song is rather modern, by Andrew Bird and Matt Berniger of The National: