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WHERE BROKEN DREAMS GO


 

Some griefs arrive with sirens.

 

Others arrive secretly,

wearing the scent of your shirt,

settling beside me

while a vinyl record turns

with that familiar crackle—

each revolution another attempt

to bring you back.

 

I have learned that memory

has a sound.

 

It is the needle touching old music.

It is your laughter caught

between one verse and the next.

It is my name

only because it once belonged

inside your mouth.

 

And yours—

 

God.

 

Have I ever told you

how much I loved saying your name?

 

It felt less like speaking

and more like praying.

 

No one warned me

that love was a rose.

 

Everyone speaks of the bloom,

of crimson petals opening

like miracles in spring.

 

No one tells you

that sometimes

the thorns survive

long after the flower is gone.

 

I still wear your shirts.

 

Not because they fit,

but because they remember

the shape of your shoulders.

 

I still wear your necklace,

black against a black shirt,

as though mourning

could become a uniform.

 

Sometimes I hear a motorcycle

passing beneath my window,

and my hands instinctively reach

for a waist that no longer exists.

 

I am still holding onto you

as you ride through a city

that no longer has roads.

 

Only clouds.

 

You once told me

that dreams were worth believing.

 

I believed you.

 

And then I discovered

what becomes of broken dreams.

 

They do not disappear.

 

They wash ashore

on forgotten boulevards,

where lovers wander barefoot,

careful not to bleed

on the shattered glass

of futures they had already named.

 

If you have never stood

on such a boulevard,

you will not understand.

 

But one day—

when the universe chooses your house,

your heart,

your impossible hope—

 

you will.

 

You will learn

how heavy silence can become.

 

I still remember

the first time I saw you.

 

A video call.

 

Pixels.

 

A hesitant smile.

 

Two strangers

pretending not to recognise destiny.

 

You looked into my eyes,

and before either of us realised it,

my heart had crossed the screen.

 

No visa.

 

No permission.

 

Only surrender.

 

Then came our first kiss.

 

How extraordinary

that happiness

can hurt so much.

 

That night

I wanted the world to end—

 

not because I wished to die,

but because I could imagine

no tomorrow

higher than that single moment.

 

You taught me

that dreaming

wasn’t foolish.

 

When I stood

at the edge of myself,

ready to disappear,

 

you held my hand

with the quiet certainty

of someone who believed

I was worth saving.

 

Before you,

life felt like

an endless winter.

 

After you,

even London

could not feel cold enough

to frighten me.

 

Do you remember?

 

I told you

I was leaving.

 

Not to leave you—

 

never that—

 

but to become

someone worthy

of staying beside you.

 

“I need to get clean,”

I whispered.

 

“For me.

 

For us.”

 

Hope,

I have unearthed,

is the hardest promise

to keep.

 

Now the record

has stopped spinning.

 

The tattoo

will never be finished.

 

The feather

waits for a wind

that has forgotten its name.

 

The boulevard waits too.

 

Perhaps it always will.

 

Sometimes

the lights begin singing

without warning.

 

I hear them.

 

Every streetlamp

hums your favourite melody.

 

Yet I no longer dance.

 

How could I?

 

Every step

belongs to the one

who used to lead me.

 

I no longer sing

unless it is our song.

 

Even then,

my voice keeps looking

for yours.

 

Night after night,

I bargain with sleep.

 

Please,

 

let me dream of you.

 

Let me borrow you

for a few impossible hours.

 

Because morning

is the cruellest invention

the Maker ever made.

 

Morning insists

you are gone

all over again.

 

The light is off.

 

Your face.

 

My face.

 

An ocean

between them.

 

Tell me—

 

what could possibly exist

that is greater

than the miracle

of being loved by you?

 

Nothing.

 

Nothing at all.

 

People tell me

that time heals.

 

I think they mistake

scar tissue

for resurrection.

 

There are wounds

that simply become

part of the fibre

of the soul.

 

You are one of mine.

 

And perhaps

that is another name

for forever.

 

If somewhere

beyond this breathing world

you can still hear me,

 

know this—

 

I still love you.

 

Across oceans.

 

Across winters.

 

Across countries,

cemeteries,

and impossible distances.

 

Across every life

the universe has forgotten

to give us.

 

Until my bones become dust.

 

Until my name

is spoken

for the very last time.

 

Until even memory

falls asleep.

 

I will meet you

where the boulevard begins—

where abandoned dreams

grow into wildflowers,

 

where old vinyl records

play without ending,

 

where motorcycles

never run out of road,

 

where the lights

are forever singing,

 

and where, at last,

 

I shall hear you

say my name

 

one more time.

 

 

 

Postscript. 

 

This poem is dedicated to my dear Mikel Niso and his feature film, Boulevard (2026). The dedication is not born of obligation but of observation. It is an uncommon privilege to encounter someone so young who possesses not only evident talent but also the far less common virtues of humility, sincerity, and a heart untouched by vanity. Such qualities deserve acknowledgment. The poem, therefore, is my small tribute to both the artist and the young man behind the performance.


 





Canaletto - London. The Thames from Old Somerset House Terrace towards the City. 1750-51


Giovanni Antonio Canal (18 October 1697 – 19 April 1768) better known as Canaletto was an Italian painter of city views or vedute, of Venice. (A veduta, Italian for “view”; plural vedute, is a highly detailed, usually large-scale painting, or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti. Canaletto also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clear. (In painting, a capriccio, plural: capricci; in older English works often anglicised as “caprice” means an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations, and may include staffage (figures). It falls under the more general term of landscape painting. The term is also used for other artworks with an element of fantasy.

He was an important printmaker who used the etching technique. In the period from 1746 to 1756 he worked in England where he created many sights of London. He was highly successful in England, thanks to the British merchant and connoisseur Joseph Smith, whose large collection of Canaletto’s works was sold to King George III in 1762.

London: The Thames from Somerset House Terrace towards the City (1750-51) Oil on canvas

Canaletto arrived in London in 1746 and remained there for most of the next nine years. This painting is a pendant to a view in the opposite direction, towards Westminster. This pair was the last by Canaletto, and the only English views to be acquired by Canaletto's great friend and patron, Joseph Smith, who was British Consul in Venice. They are on a Venetian type of canvas with a russet ground rather than the light grey that the artist used for most of his English paintings. This suggests that Canaletto painted them when he returned to Venice briefly in 1750-1. The view is not based on the drawing, but on a slightly different view now in the Courtauld Institute of Art Gallery. Canaletto adjusted the composition to suit the much grander scale of the painting.

The view is taken from the Terrace of Old Somerset House. Its New Gallery facing the river had been built in 1661-61 for Henrietta Maria, the Queen Mother and was perhaps designed by Inigo Jones. The building was subsequently the home of the Royal Academy, and part of it is now occupied by the Courtauld Institute of Art. The skyline is dominated by St Paul’s Cathedral, completed in 1709. Canaletto altered the dome so that it is viewed from slightly below, magnifying its powerful presence. Beyond it stretches a horizon dominated by the steeples of the City churches, largely built by Christopher Wren following the Great Fire of 1666. At the right is visible the Monument to the Fire, erected in 1671-77, Old London Bridge with its houses which were demolished in 1757, and part of the south bank.


The pair of views relates not only to Canaletto’s Venetian scenes, but also to the long tradition of topographical views of London dating back to the 1600s. Earlier engraved prospects of London were usually printed on several sheets to include the whole riverside from Westminster to the Tower. During the last century artists had chosen to depict the city stretched out in a line from a bird’s eye view over the south bank. Canaletto adopted a high viewpoint for his earlier views of the river but brought the viewpoint almost to ground level here. The great curve of the river dominates the composition, which also manages to include all the principal features to be seen from the terrace of Somerset House. When the two views are placed side by side they create a long panoramic view of the curve of the river, the equivalent on the Thames of Canaletto's wide-angled views of the Bacino in Venice.

François Flameng – Bathing of Court Ladies in the 18th Century 1888


François Flameng (1856–1923) was a very successful French painter during the last quarter of the 19th century and the first quarter of the 20th. He was the son of a celebrated engraver and received a first-rate education in his craft. Flameng initially received renown for his history painting and portraiture, and became a professor at the Academy of Fine Arts. He decorated such important civic buildings as the Sorbonne, and the Opera Comique, and also produced advertising work. Flameng was granted France’s highest civilian honour, the Ordre National De La Légion D’Honneur, and designed France’s first bank notes. He was also made an honorary Commander of the Royal Victorian Order in the 1908 Birthday Honours.

Flameng married Marguerite Henriette Augusta Turquet on 30 November 1881.


This painting hangs in the Hermitage.