
Truth
Truth
I once thought language
could hold Truth like
stone holds moss,
but I found Truth moves—
like roots around the boulders,
like earthworms tunnelling light
into the breathless earth.
I once named it abandonment,
named it addiction, called it exile—
until it named me.
Unfolding in my palm:
a fractal of a blade of grass.
Intimate. Presence. My presence.
Once, I danced whole,
then seeing, held myself back—
a body adrift,
an unheard melody stung.
My absence. Gravity unfelt. Sinking.
Truth: if I could name it a fall—
I was silenced at the hip.
I once thought of time—
a slow uncoiling of loops,
or a straightforward, quiet hunger—
gnawing in unreachable places.
A hungry line near a street cart,
a silent thief—never showing its face,
stealing faces.
Now. It moves with me / foreshadows my steps.
Truth— / time thrusts and leaves, moment to moment.
Trampoline: the bounce, the break, the weight, the letting go—
curves, guides gravity, traps it till no language is left.
At others, it eases into blooms where I do not seek it.
We are dancing around the hips of the world.
Silenced. Beyond doubt. Truth—
Just outside the tangle
of moss—green, grey, and gold—
heads wrap the sunlight,
bend fire to their ancient will,
caress the cold, hard weathering stone.
Murmur life back / breath untangles,
reflected in a soft, rainbow gaze.
Rising Ganymede and Europa—
elemental, fundamental—
See the landscapes untethered to the eye.
Whole, broken, seamless—Truth—
In suspended animation, a boy becomes a man,
a woman worries about mango flowers
​
melting in the rain—lost to cycles of time—
the moss, the mountains, the man, the boy, the woman,
the worry—and the Truth—reduced to a wrinkle in time!
We are dancing in the rain.
Truth thrusts itself and leaves—
We are broken at the hip.
We are dancing in the unbidden rain.
Truth—
- Tess James
Artwork - An Allegory of Truth and Falsehood (verso) | 1835/1845 | Fortunato Duranti

"Truth" explores the fluidity of truth and time, weaving together personal reflection and natural imagery. Inspired by the idea that truth is not a fixed motif but a shifting presence—moving through the felt images of both the animate and inanimate, across the micro and macro universe—the poem drifts between moments of certainty and dissolution. It plays with contrasts: presence and absence, movement and stillness, the seen and the unseen.The craft of the poem mirrors its theme; it unfolds in a nonlinear rhythm, echoing how time feels—directing, spiralling, slipping, expanding, vanishing. The visual shifts in line breaks and punctuation seek felt senses, breath and pauses, reflecting the way truth arrives and departs unexpectedly. To retain curiosity and fluidity, the poem asks as it tapers into silence: Are we watching time, or is time watching us? And in asking, it finds its dance—dissolving before it is fully named.
Tess writes because it helps her listen. Poetry, for her, has always been a way to slow down, to savour, to share the small details that slip past: the colour of evening light, the sound of rain on the myths of her place, a song or phrase overheard that lingers for days. Over time, this habit of noticing has grown into fieldnotes, photographs, and recordings — ways for me to trace memory, music, and the living world.
She works with the Existential Knowledge Foundation, where she explores questions of culture, learning, and how we live in relation to the earth. Much of her writing begins as words scribbled in the margins, or images caught and forgotten, before unfolding into poems or essays. When she is not writing, she tends a wild garden, learns from herbs, listens for bird songs, and practices music as a daily ritual for returning to ease.
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Poet-Artist-Listener
Tess James
Artwork - An Allegory of Truth and Falsehood (verso) | 1835/1845 | Fortunato Duranti










