4.18.26 Untitled 3 #33

     I was trying to get Ursula on the line but I kept seeing her picture and thinking: what’s there to write?  She already loves me!  But she wasn’t talking for like 20 minutes as I sat here drinking sparkling water and getting a little buzz off it.  I kept listening for some still small voice to speak up, but we’d pretty much covered where we’re at yesterday.  Or at least that’s how it seemed right now.  In reality, however, she was back there—but I was writing, in this instance, after painting instead of before—so she might be at a different address right now—I’m really not sure.  You want me to come back  there, she finally said something—so i told her, “of course i want you to come back.”  We’re going somewhere special, you and I.  i was only thinking, right now, about getting a truck, filling it up with paintings, and convincing one of my brothers to drive it.  We were running out of space here—so, yes, we must’ve been talking about space, or she was thinking about it, and how much of a problem that was going to be for me—since she can’t afford, to my knowledge, to look after me.  Eventually she will be able to, i think, but for right now?  She doesn’t curtsy for rich people—which is one of the main reasons i like her, but that also meant that we couldn’t be together.

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Novels in real time

4.18.26: Poem Untitled 1 #28

The speaker describes himself as “free-born and free-falling,” trying to rid himself of inherited hate while struggling financially and personally (“my vices cost money”). He imagines restarting life—“return to my home, marry His mother”—and reflects on how his art expresses his complicated inner state. He addresses a woman directly, wondering about physical intimacy (“will you press your breasts…”) and imagining that a lack of money keeps them apart. He insists on love and mutual respect despite differences, then shifts to humor and frustration about dating (“I can’t date AOC… can’t afford it”). In the second section, he imagines an alternate identity (“Nonny… on the other side of the sun”), criticizes AI and authority, and connects economic pressure (“gas prices”) to conflict. The poem ends with apocalyptic and surreal imagery about desire and imagined worlds.

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Book-length poems

4.17.26: Untitled 3 #32

     Still using, at this point, just Ursula’s voice—that was getting me into conversation land—short “texts” that we sent back and forth—sometimes with space between them and other times back and forth.  You don’t know how i feel  so i figured i’d touched a nerve; i think what she was really saying was that her boyfriend didn’t know how she felt.  I wondered, sometimes, if he loved her more that she loved him, or if, on the other hand, he was just doing what he thought he was supposed to do, i.e. get married, be the first husband, maybe have kids if she wanted them, maybe not if she didn’t—as opposed to doing something that defined him outside of working hours.  But I wasn’t going to ask her about that—and then i thought, well, it is only natural to talk to the person you’re having an affair with about the person you’re cheating on and how they make you unhappy.  That was what forward progress in an affair looked like.  All affairs, at least a little, amounted to gossip.

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Novels in real time

4.17.26: Poem Untitled 1 #27

This passage pulls the reader in through its restless, almost breathless movement between satire and dark humor. The voice feels unfiltered, shifting from the absurd—“the taste of your armpit makes me gag”—to something more searching, as in “going to an uncertain existence.” That tension keeps the poem alive; it never settles into one tone long enough to become predictable. Lines like “all I see is loneliness in drag” compress social critique into a striking image, while “Presidential trash and the love we greet” widens the scope into something political without losing the personal thread. The speaker’s instability becomes a kind of momentum, pulling us through contradictions that feel intentional rather than chaotic. It reads like the poet is under stress—uncomfortable, vivid, and hard to look away from.

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Book-length poems

4.16.26: Untitled 3 #31

    Now—I don’t want to be a negative Nancy, but I told Ursula that she would be attacked in her presidential campaign if she didn’t put an end to being a fiancé and get married—otherwise she needed to break it off.  This was her weakness, and, the more she put it off, the more vulnerable she became.  I expressly told her this.  You don’t know what i need.  touchy subject, of course.  So I decided i would do my best not to say anything more about that—if I did, I risked having an argument with her—and let’s be real: you don’t argue with someone that you’re in love with unless something isn’t right about the relationship—which, is often the case, and hence this idea that all is fair in love and war.  I didn’t really want to get into an argument with Ursula, not with something that could lead to ultimatums, or saying things that we can’t exactly walk back a little.

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Novels in real time

4.16.26: Poem Untitled 1 #26

This piece feels like a restless monologue that keeps slipping between voices—biting and darkly comedic. It pulls the reader in with its unpredictability: sharp turns from satire to vulnerability, from political jabs to personal unease. The language has a jagged rhythm, almost musical, where rhyme and phrasing create momentum even as the speaker seems to resist coherence. There’s a raw honesty in the way it confronts desire, failure, and power—especially in lines that undercut themselves just as they begin to sound certain. That tension keeps the poem alive. It doesn’t settle into a single tone; instead, it keeps testing how far it can push before breaking. What makes it compelling is that it feels overheard rather than constructed—like a mind thinking out loud under pressure. That immediacy, mixed with flashes of wit and discomfort, gives the piece an edge,

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Book-length poems

4.15.26: Untitled 3 #30

     We’re all going to make it—we’re going to be rich and famous!  that was the actress Margot Robbie talking; she used to live jammed up in an apartment (in NYC i guess) with the man that was to become her husband; i have to admit, I wasn’t exactly sure how her marriage worked—but nobody was talking about divorce and i would probably know, given the amount of time, of late, I’ve spent scrolling on Instagram, a social media outlet . . . but the odd thing about it was, no: that was Ursula’s voice—that was Ursula talking, so i wondered if my 5D self was trying to tell me something.  I don’t know why Margot Robbie popped in my head—but here’s the thing: she was already rich and famous—so what was Ursula saying?  That she loved me in the way that Margot Robbie loved the man (Jacob Elordi) she partnered with in the movie Wuthering Heights?  But our love, like their love, was never meant to be, i.e., would she go back to her fiancé after the completion of this book?

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Novels in real time

4.15.26: Poem Untitled 1 #25

The poem’s language keeps slipping between high and low registers. You move from something almost lyrical (“cool the water temperatures with my tongue”) to something deliberately jarring or even crude (“rear end,” “laxative Lucy”). That contrast prevents the poem from settling into a single tone. It feels closer to thought than to speech—like impulses arriving unfiltered. There’s also a recurring idea of consumption and passage: “traffic went through my throat,” “imbibe forever,” “gulp.” It gives the sense that experience is being swallowed, processed, maybe even forced through the speaker. That ties into the feeling of overload—the poem doesn’t pause long enough to resolve anything. Toward the end, the questions get more direct: “When I die… will I feel pain?” and “Why else would you appear in this my life.” After all the shifting and posturing, those lines feel almost plain. That contrast works—they land because the poem has been so unstable up to that point.

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Book-length poems

4.14.26: Classical: Venus and Such

Venus and Such is a quiet but deeply compelling chamber work for violin, cello, and piano that draws you in through subtlety rather than spectacle. From its opening, the music avoids bold declarations, instead unfolding like a conversation—hesitant, searching, and emotionally charged beneath the surface. The instruments move together and apart, creating a sense of connection that never quite settles into resolution. Fragments of melody appear, dissolve, and return in altered form, giving the piece a reflective, almost psychological quality. What makes it especially engaging is its sense of suspended motion: the music progresses, yet feels timeless, as if circling an idea rather than arriving at it. The piano grounds the texture while subtly shifting its direction, keeping the listener off balance in a compelling way. This is music for attentive listening—intimate, unpredictable, and quietly powerful. It doesn’t demand your attention; it earns it.

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Classical

4.14.26: 1 Album 13: Eavesdropping

“Eavesdropping” creates interest immediately through its restless accompaniment: the guitar part rarely settles, instead moving in short, syncopated figures that mirror the speaker’s unsettled state. From the opening (“Completely frazzled—”), the vocal line enters almost conversationally, but it’s constantly nudged forward by shifting harmonies underneath . This gives the sense of overheard thoughts rather than a stable narrative. As the lyrics drift between observation and self-insertion (“I am the source of his creativity”), the music thickens—more chordal weight in the piano and tighter rhythmic alignment—suggesting the listener becoming entangled in what they hear. Moments of lyrical clarity (“at least we could say we are friends”) are often undercut by harmonic movement, preventing resolution.

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Songs