The Loss of My Life
There are people who lose a father
only once.
I have been losing mine
in small, unremarkable increments
for as long as I have known
what it means to be a daughter.
First, the faith that love was fair.
Then, the certainty of being chosen.
Then, the childish conviction
that if I could make myself
good enough,
clever enough,
small enough to fit
inside the narrow architecture
of his affection,
he might finally turn
and see me standing there.
I spent years
mistaking the sound of a closing door
for an invitation
to knock more gently.
And still,
there was love.
God, there was love.
It lived in the strangest places.
In the white fur of a polar bear
placed into two-year-old hands,
a small, impossible creature
that would follow me
through forty winters
and sleep beside me
long after I had stopped believing
that love could keep us warm.
It lived in afternoons
that asked nothing of us,
in laughter that arrived
without permission,
in the rare and radiant hours
when being his daughter
did not feel like something
I had to earn.
Those are the memories
that make grief so merciless.
If he had only been cold,
I could have buried him
beneath the certainty
of what he was.
If he had only been kind,
I could have mourned him
without having to mourn
the years I spent
begging kindness to stay.
But he was both.
And I have spent my life
standing between those truths,
holding one in either hand,
unable to set either down
without feeling
I have betrayed the other.
They will say
he was the love of their life.
And perhaps he was.
Perhaps somewhere
he was the sun
around which another heart
built all its seasons.
But he was the loss of mine.
Not because I loved him most.
Not because my grief
is greater than anyone else's.
But because I lost him
while he was still here.
Because there is a particular sorrow
in loving someone
whose love you cannot reach
without cutting yourself
on all the things
they refuse to see.
Because I knew the weight
of his absence
long before I knew
the date of his death.
And because now
there will never be
another chance.
No ordinary Tuesday
on which he might have called
and said the words
I had finally taught myself
to stop waiting for.
No sudden tenderness
to make sense of the years.
No old man,
softened by the mercy of time,
looking at the woman
his little girl became
and saying,
I see you.
I see what happened.
I wish I had loved you better.
Death has taken
even the possibility
of those words.
And I am ashamed
of how much that hurts.
Not because I expected them.
Not because I believed
they were coming.
But because hope
is a stubborn, foolish animal
that will go on breathing
long after the door
has been nailed shut.
I have tried
to make a home
for all the things
he never gave me.
I have furnished it
with understanding,
hung forgiveness
like a coat I am not yet ready
to wear,
and opened every window
to let the bitterness out.
But grief comes in
through the floorboards.
It finds the rooms
I thought I had emptied.
It sits beside the little girl
who is still waiting
to be somebody's favourite,
and tells her gently
that the waiting is over.
I don't know
how to explain to her
that this is not
the same thing
as being free.
Because somewhere
inside the man
who could not love me
the way I needed,
there was also the man
who loved me
in the ways he knew.
And I am grateful.
I am furious.
I am grateful again.
I remember his laughter
and want to forgive him.
I remember his silence
and want to ask him why.
I remember the good
and feel the terrible tenderness
of having been loved.
I remember the hurt
and feel the terrible loneliness
of having been his child.
There is no graceful way
to carry both.
No beautiful arrangement
of words
that can make a wound
into a window
without admitting
how much of the wall
was broken.
And perhaps
that is what love becomes
when it is left unfinished.
Not a monument.
Not a lesson.
Not a tidy little story
about finding peace.
But a house
with two lights burning:
one for everything
that was beautiful,
and one for everything
that should have been.
I will keep them both.
I will not extinguish
the tenderness
to prove the hurt was real.
I will not bury
the hurt
to make the tenderness
easier to remember.
And if there is somewhere
beyond all this
where the living
can no longer disappoint
the dead,
I hope he has found it.
I hope he is warm.
I hope the weight
of being human
has finally slipped
from his shoulders.
I hope he knows
that somewhere in this world
there is a woman
who has spent her life
learning how to live
without the father
she still wishes
she could call.
And I hope,
if there is anything left
of the love
he never learned
to give me properly,
it finds its way
across whatever distance
death has made of us.
Not to mend the past.
Not to ask me
to forget.
Only to say
that somewhere,
beneath the wreckage
of everything
we could not be,
I was his daughter.
He was my father.
And I loved him.
I loved him
through the leaving,
through the silence,
through the years
when loving him
was something
I had to do
from far away.
Others may remember him
as the love of their life.
But I will remember him
as the loss of mine.
The first loss.
The longest loss.
The one I learned
to live around.
And now,
at last,
the one
I can never
get back.
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Poetry by Britt Wolfe:
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Some names are remembered not because they deserved infamy, but because they became convenient. This poem explores the recurring pattern of public blame, forgotten context, and the painful truth that history often chooses its villains before it knows its facts. Somehow, the blame is always hers.
The Midpoint Moves challenges the idea that moderation is inherently moral. When the political right moves further toward the extreme, continually meeting it in the middle does not hold the centre—it moves it. A poem about the dangerous distance between compromise and permission, and what happens when yesterday’s unacceptable becomes today’s reasonable.
Your Empty Message is a reckoning with a left that speaks fluently about inequality, injustice, and systemic failure while governing too cautiously to meaningfully confront them. It asks what happens when progressive language is repeatedly separated from material change—and the political vacuum left behind is filled by a far right more than willing to turn legitimate anger into fear, blame, and division.
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History is filled with unanswered wrongs and unbalanced scales. This poem explores the unsettling possibility that perfect justice was never meant for this world, while gently wondering whether another horizon may yet hold what this one cannot.
The greatest regrets are not always born from failure. Sometimes they grow from the opportunities never taken, the dreams forever delayed, and the extraordinary life that remained just out of reach. This poem is a meditation on courage, comfort, and the passing of time.
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This poem is about a particular kind of tragedy—not the tragedy of failure, but the tragedy of fixation. It was inspired by the realization that some people spend so much time chasing, comparing, resenting, or reacting that they never fully step into the extraordinary possibilities of their own lives. The Chaser is not really about any one person. It is about a pattern, a temptation that exists in all of us to look sideways instead of forward. I hope that, as you read it, you feel both the sadness of what can be lost to obsession and the quiet invitation hidden beneath it: to stop chasing shadows and begin building something beautiful of your own.💚
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This poem was inspired by a line from Alice Feeney's novel Sometimes I Lie, which lingered in my mind long after I finished reading. It made me think about the role of the bystander—not the person committing the harm, but the person who sees it, senses it, suspects it, and chooses silence. The Bystander is my reflection on the quiet power of courage and the equally powerful consequences of looking away. I hope that, as you read it, you find yourself considering the small moments when a voice, a question, or a simple act of standing beside someone can change the course of a life. 💚
The People Pleaser is about the quiet cost of becoming everything for everyone except yourself. Many people pleasers are praised for their kindness, reliability, and generosity, yet beneath those compliments can live a profound loneliness—the loneliness of being deeply known by everyone except themselves. This poem explores the moment that pattern begins to break. I hope that, as you read it, you feel both the grief of all that was sacrificed in pursuit of approval and the profound relief that comes from finally asking a simple, life-changing question: What do I want? 💚
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I’ve been reading a great deal about the Dark Tetrad—those intersecting traits of narcissism, Machiavellianism, psychopathy, and sadism—and found myself wondering what it might feel like to move through the world inside a mind shaped by those patterns. This poem is my attempt to imagine that interior landscape. I hope, as you read it, that you feel unsettled—that slow, creeping chill of realizing you are standing inside a psyche where charm is strategy, intimacy is leverage, and other people exist chiefly as instruments to be played.
Carve Your Canyon is a poem about persistence—not the loud, cinematic kind we are taught to admire, but the quiet, often invisible kind that changes everything anyway. It is for anyone who has looked at the scale of a dream and felt impossibly small in comparison. For anyone who has wondered whether they are too late, too ordinary, too uncertain, or too tired to create the life they ache for. At its heart, this poem is a reminder that transformation is rarely born of spectacle. It is born of return. Of showing up again when no one is applauding. Of choosing devotion over drama. Because the most extraordinary lives, the most breathtaking art, and the most impossible dreams are so often carved not by force, but by the patient, relentless courage of simply refusing to stop.
Fine: I’ll Drag Myself and My Dreams Out of Here Myself is for anyone who spent too long waiting—for permission, for confidence, for rescue, for the elusive moment when ambition would somehow feel legitimate enough to pursue out loud. It is a poem about creative hunger, late beginnings, and the furious clarity that comes when you realize no one is coming to hand you the life you ache for. At its heart, this is not a poem about effortless triumph. It is about grit. About dragging your dreams forward bloodied if necessary. About refusing self-erasure. About finally choosing yourself, your voice, and the stories burning inside you—even if the path forward is messy, exhausting, and entirely self-made.
Dead Horse is about the painful moment hope finally collides with reality—and the realization that some forms of love do not die dramatically, but decay quietly over time while hope keeps mistaking absence for possibility. This poem explores nostalgia, grief, and the deeply human instinct to keep trying long after something has already ended. At its heart, it is a reckoning with the difference between love and longing—and the devastating clarity that sometimes the kindest thing we can do is stop trying to resurrect what has long since gone cold.
I’ve Got My Hands Up is about the kind of surrender that does not come from weakness, but from exhaustion, clarity, and the hard-won understanding that some cycles survive only through continued participation. It explores the moment a person finally steps away from a dynamic that has demanded endless emotional labour, hope, and self-sacrifice, and discovers that peace is not found through victory, but through absence. Rather than framing surrender as failure, this poem reclaims it as an act of self-preservation—a quiet refusal to keep offering oneself to something that only knows how to wound.💚
Relieved explores the complicated, almost disorienting feeling that can follow the end of something painful that once felt impossible to release. It reflects on the exhaustion of living beneath constant emotional tension—the way fear, hope, and survival can become so tightly intertwined that suffering begins to feel ordinary. Rather than focusing on triumph or revenge, this poem lingers in the quieter aftermath: the stunned relief of discovering that the body no longer has to brace itself for impact, and the fragile, unfamiliar freedom of finally being able to breathe without fear.💚
Profoundly Sad is a meditation on the grief of unrealized closeness—the sorrow that comes not only from what was lost, but from what might have been possible if tenderness had been chosen over distance, honesty over self-protection, connection over pride. Rather than centring a single villain or dramatic betrayal, this poem lingers in the quieter devastation of erosion: the slow collapse of something that once held the potential to become safe, loving, and enduring. At its heart, it mourns the unbearable reality that some fractures are not inevitable tragedies, but human choices made gradually, repeatedly, and often too late to undo.💚
Britt Wolfe writes emotionally devastating fiction with the precision of a heart surgeon and the recklessness of someone who definitely shouldn’t be trusted with sharp objects. Her stories explore love, loss, and the complicated mess of being human. If you enjoy books that punch you in the feelings and then politely offer you a Band-Aid, you’re in the right place.
I wrote The Loss of My Life in the wake of my father's death, trying to find words for a grief that began long before he was gone. There is a particular kind of heartbreak in mourning someone you loved deeply, but whose love could also leave you feeling unseen. It is the sorrow of losing not only the person who existed, but the relationship you spent a lifetime hoping might one day become something different. This poem is about the complicated coexistence of gratitude and resentment, tenderness and hurt, love and longing. It's about the memories I will always treasure, the wounds I am still learning to carry, and the terrible finality of knowing that some conversations will never happen, some apologies will never come, and some stories will remain forever unfinished. Above all, it is about loving someone enough to grieve both who they were and who they might have been. 💚