Almost Home
It happened
again,
That smell,
Like rain arguing with pavement,
Like someone opened the window of a memory
I swore I’d locked.
It's unfair,
really,
How scent flies a direct flight to the past
while the rest of us have to drive
Hands at ten and two,
Eyes on the road,
Pretending we don't see the ghosts hitchhiking
Today it was rain on pavement,
That post-storm smell
That sounds like jazz if you breathe it in too deeply.
I hit sixty on the highway,
Windows down,
Wind snapping through my hair,
And for a second,
I felt like I could outrun memory itself,
But the smell captured me anyways,
Pulling me back in that imaginary city,
You know, the one I built,
On the back of a notebook page
When the world felt too small
And I was too much.
I carved the streets myself
Ink smudged, corners uneven.
You lived on the edge of Maybe.
I rented a small apartment
Above a beautiful bakery that smelled like forgiveness
And overbaked croissants.
I can still see it,
The way the air trembled
With things we hadn't said yet.
It smelled like possibility,
And espresso,
And something faintly like the inside of a library.
with the smell of old paper and dust lingering in the air.
Now it’s just this,
Wet air and asphalt,
And me,
Trying to decide if remembering
counts as time travel.
Emily Dickinson would've called it:
“Eternity, in a whiff.”
I just call it an ambush.
That even cities that never existed
And the blur of motion
To guide you,
Leave something behind,
A scent,
A sigh,
A little ache in the ribcage
Where memory insists on being stubborn and living rent-free.
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Deeply personal memory of constructed imaginary city, grounded in autobiographical sensory experience.
Multiple interwoven ideas per section: scent-memory, time, phantom cities, emotional ambivalence.
Mixed: nostalgic warmth and beauty offset by loss, ambush-like invasion, bittersweet longing.
Kinetic highway imagery, wind-snapping motion, urgent language, but meditative reflection tempers intensity.
Approximately 50+ lines; substantial single-poem piece with extended development.
Rich: similes, extended metaphors, personification, allusion; highly ornamented throughout.
Pure lyric internal voice; first-person introspection with no narrative or dramatic persona shift.
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