The hollow clatter,
fork to plate, rings—
a sound misplaced.
Empty halls devour voices
that once stood firm,
laughter now foreign
as wind to the walls.

Half the rooms sit cold,
chairs unfilled,
beds stripped,
the life leached from
this structure, bricks
crumbling to silence.

She has gone.
There’s no need to trace her
footsteps, no meaning in
the apology that dies
before the lips find it.
The children grown,
their worlds far beyond
the debris of ours.

The marriage that was—
its bones scattered,
its heart without pulse.

I sit, unmoving,
not as failure but as fact,
like the dying light in the window,
fading but sure in its exit.

And so what now?
There are no doors to knock on,
no pleading with fate
to stitch it back.
Let her live, let me live,
two parts once fused,
now simply apart.

In the quiet, I reconcile
with the self I left behind,
and though the house remains,
half empty,
the space feels mine at last,
and it’s enough.

Image credit:Annie Spratt
Grady VanWright

Grady VanWright is a poet, author, and playwright based in Houston, Texas. He writes in a style he calls muscular lyricism—a fusion of Hemingway’s grit, Joyce’s lyricism, and Camus’ philosophy of the absurd, where clarity and compression meet rhythm and existential depth.

 His poems balance strength and tenderness, silence and rhythm, absurdity and hope. He has been published in Washington Square Review (2025), The McNeese Review, South Florida Poetry Journal, Oddball Magazine, Blood+Honey, Querencia Press, The Genre Society, The Dead Mule School of Southern Literature, Sheila-Na-Gig, Mayday Magazine, The ManifestStation Magazine, and other literary journals. He is a member of The Authors Guild and The Poetry Society of New York.