3.21.26 Poem Untitled 1 #4

This expands the poem’s metaphysical reach, blending inner dialogue, theology, and identity into a fluid, searching voice. The opening image—hearing speech “across the portal…outside my skull”—immediately establishes a layered consciousness that carries through the piece. The language moves confidently between belief and inquiry, giving the poem a compelling sense of motion and discovery. Religious imagery feels personal rather than doctrinal, grounding abstraction in lived experience. The steady rhyme and cadence provide a strong structural backbone, guiding the reader through shifting ideas with clarity and momentum. The result is a voice that feels both expansive and intimate, balancing philosophical ambition with emotional immediacy.

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Book-length poems

3.21.26: 1 Album 9: Get sick a little

The music and lyrics work together to create a restless, psychologically charged atmosphere that feels both structured and unstable. The score’s steady interplay between voice and guitar provides a tonal anchor, while the vocal line often rides the edge of speech, mirroring the fragmented, associative lyrics. Phrases like “get sick a little” and the shifting internal monologue gain added tension from the harmonic support beneath them, which feels cyclical and unresolved . This contrast—musical coherence against lyrical volatility—produces a compelling push-pull effect. The result is a piece that feels intimate yet disoriented, where the music contains the chaos of the text without fully resolving it, reinforcing themes of anxiety, identity, and persistence.

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Songs

3.20.26: Untitled 3 #13

    Get out of here in a hurry, before this whole thing explodes!  What whole thing?  was she feeling the heat?  I was still taking risperidone, so I wasn’t feeling the heat much at all.  But I’d had a couple bowel movements—nothing major, but enough to keep me from turning to bisacodyl.  A lot of constipated material, so, naturally, rather than deal with a toilet that I knew would clog, I was digging it out again, putting it into a plastic bag, and dumping it in the yard.  Hardly an ideal situation—but I needed a doctor’s assistance to get off the risperidone because I’d have to replace it with something else, and, on top of that, I needed something that was going to keep me sleeping correctly, and thinking healthy, noncompromising thoughts (as much as possible).

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Novels in real time

3.20.26: Poem Untitled 1 #3

This leans into fragmentation and manic propulsion, blending prose-like urgency with rhythmic bursts of verse. The opening’s chaotic voice—half confessional, half performative—captures anxiety, addiction, and temporal dislocation with raw immediacy. The shift into structured stanzas provides contrast, grounding the piece in reflection and self-awareness. Lines like “thinking…that it’s doing fine / but you’ve got me, now” reveal vulnerability beneath the bravado. Uneven but compelling, it sustains emotional intensity.

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Book-length poems

3.20.26: A Untitled 1 #2

This installment deepens the poem’s theological and existential tension, weaving confession, identity, and redemption into a fractured yet resonant voice. The interplay between self and collective—“the people I am are the people we were”—is especially striking, suggesting a porous, evolving identity. Religious language grounds the piece, while sudden tonal pivots keep it unsettled. Though occasionally diffuse, the poem’s urgency and sincerity give it emotional weight and a searching, restless coherence.

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Book-length poems

3.20.26: A Untitled 1 #1 (Beginning)

This poem pulses with restless energy, blending colloquial speech and surreal imagery into a kaleidoscopic meditation on love, identity, and fate. Its shifting diction—moving from playful (“jumpin’ jim-juniper”) to ominous (“wolf of a skull”)—creates a tension that keeps the reader off balance. The rhyme scheme loosely anchors the flow, while the associative leaps evoke a stream-of-consciousness intensity. At times chaotic, the poem’s vitality ultimately carries it forward with compelling, unpredictable force.

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Book-length poems

3.18.26: 1 Album 8: Wait for me

“Wait for Me” presents a compelling fusion of lyrical ambiguity and harmonically restrained songwriting. Built largely around alternating G, Asus2, and Asus4 voicings, the music establishes a suspended tonal atmosphere that mirrors the text’s emotional instability and existential drift . This harmonic openness avoids resolution, allowing the listener to inhabit the same unsettled psychological space as the narrator. Lyrically, the piece juxtaposes intimate confession with surreal, almost theatrical imagery—“Good morning, starshine” collides with references to violence, chance, and identity, creating a layered narrative that resists a single interpretation. The recurring tension between tenderness and threat gives the song a philosophical edge, suggesting a meditation on agency, illusion, and consequence. What makes the work market-friendly is its accessibility at the surface—clear melodic phrasing and acoustic grounding—paired with deeper intellectual content that rewards repeated listening. It operates effectively as both a song and a reflective text, bridging poetic songwriting and conceptual composition.

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Songs

3.18.26: Untitled 3 #12

     Shame on you!  You mentioned me!  Well, i’d just figured out that an italic sentence should be punctuated with an italics punctuation mark, but, you know what?  Screw that—I wasn’t going back to fix it; so I tell myself, I’m a painter, and it’s important to me to show a little of the process in the finished piece—such as well, how you don’t care sometimes if something looks unfinished or a little daring.  I know, though, who do I think I am?  That I can play fast and loose with the laws of the English language?  But anyhow—what did she expect?  That I’d never mention this person, when, after all, I projected that voice on a daily basis?  But I know what she was getting at.  I was only going to make myself look crazy, or, possibly, I was going a little crazy, because I should know better than to joke about something in the hope that once people get used to the joke it will feel normal to them and then you can get away with things for real.

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Novels in real time

3.17.26: Untitled 3 #11

this is horse-shit, my father said, also known as Mozart.  I’d been working on a classical piece—violin, cello, and piano—but I don’t think he was talking about that.  I think he was talking about my country and how everybody was forced to spend so much time separated from their families because they had to work all the time.  Now, you know what you want, Ursula said, and, indeed, I still wanted her.  I had my fingers crossed that I’d get my sexual dysfunction fixed, and, when I did, I was sure that my confidence would get a boost, and, then, well, I’d be ready for whoever the real person behind Ursula the politician was: (It was becoming increasingly apparent that I’d never be with Ursula the politician, but I intended to stick with her).  So what did the person behind Ursula look like?  Given my hatred for random blond idiots, she was probably blond—since we’re often attracted to what we have a beef with.

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Novels in real time

3.16.26: Untitled 3 #10

     what are you cooking up now?  then my pot smoker friend said something, but I couldn’t understand him.  then he said, now.  As if, at this time of my life, everything about me was beginning right now.  Someone unknown said, “i’m trying to stave off disaster,” and it sounded kind of like my default narrator.  Now you’re going to try this, my pot smoker friend said  –  and I’m going tell you I revolutionized pottery, my smoker friend said.  I didn’t really care.  I didn’t really care about them—or anything they were saying, at least not in this moment, except for me, and I was a little irked by me because he refused to let me function with a decent level of dopamine and testosterone in my body.  I got a whiff of the other side, last night, though, as I forgot to take my medicine, and I woke up, unable to get back to sleep, keeping time with my foot, and wondering what was going on.  Around 5 I got up to take my morning meds, and I saw that I hadn’t taken my evening meds, so i took half of them, went back to bed for an hour, and felt fine.

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Novels in real time