3.5.26: Untitled 3 #4

  Well, here we were, in some deeper realm of analytic thought, concerning ourself with mathematical stimulus, trying to prove the existence of heaven.  That’s what everybody would like to do, I think, but most people can’t understand anything but love for one another; if told them that math is love they’d say it’s over their heads—as if they didn’t want to think about going to heaven, even if it meant, in thinking about it, you increased your chances of getting there.  I’ll be a doctor one day, but this came from someone else, someone I knew only a little, from the church, and, once or twice, his appearance, along with two missionaries, at our dinner table.  The root of that—the person I thought of after I overheard that, was Ursula—I wondered, even, if she said it.  What was she doing?  “Did you say that?”

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Novels in real time

3.4.26 1 Album 3: Homosexual telepath

“Homosexual Telepath” blends reflective lyrics with a clear, flowing melodic structure that supports both voice and guitar. The music moves at a moderate tempo and relies on repeating melodic phrases and steady harmonic motion, giving the song a contemplative, almost meditative character. Lyrically, the piece explores identity, communication, and spiritual longing through the metaphor of a telepathic connection. The narrator reflects on love, misunderstanding, and the search for authenticity while addressing themes of faith and personal transformation. Together, the music’s gentle progression and the introspective lyrics create a thoughtful art-song atmosphere, inviting listeners to reflect on desire, language, and the possibility of deeper human connection.

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Songs

3.4.26: Untitled 3 #3

Here I was, talking to Ursula, having defined myself—through a respectable test, the Storms Sexuality Axis test, to be seventy percent heterosexual and thirty percent homosexual. So all the second guessing myself and overthinking of whether or not I’m homosexual had to stop—it had been going on for too long. this pleased Ursula, since, ac-cording to her, I was too straight to be gay, which is exactly what the test said. So good—I was straight enough to deny being gay—only i didn’t want to deny being gay, which is why I call myself queer and say that I don’t fit any category—I do it for strategic reasons, to silence all the people that, out of hate, would argue that I’m gay, (because of my now prior confusion and my sexual dysfunction). Now that my confidence was growing—I’d gone on misleading both myself and others enough, yes; but also, yes, I was thirty percent gay, and that was important to me—enough to celebrate in my writing since, after all, being thirty percent gay is really quite beautiful, if you’re not a jerk.

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Novels in real time

3.3.26: Untitled 3 #2

You’re young, you have your life ahead of you; and that’s true, I did—not to mention the life to come, in which, well, my life would somehow be both ahead of me and perfectly in step with every decision I make. You’re great to think that – so what was she saying? Was she affirming my be-lief in the life to come—or, perhaps, to keep her happy, I should say a life to come? That way she might not feel like I’m saying she must necessarily also have a life to come—i don’t know why she would want that, but, if that was all she could believe in, then, i guess she didn’t have a choice. I think that’s the main point that some of us want to make—that we’re not free agents, that we don’t have a choice, and the life, this life, is nothing more than a dream that doesn’t involve the consciousness of the person that’s asleep.

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Novels in real time

3.2.26: 1 Album 2: That woman

That Woman is a reflective, guitar-driven song that pairs emotional candor with compositional restraint. Built on steady harmonic movement and clean melodic lines, it explores compartmentalization, desire, faith, and loss with deliberate clarity. The opening—“Look away from my darkness”—sets an introspective tone that deepens through layered imagery and recurring musical motifs. Cyclical chord patterns subtly mirror the song’s psychological themes, while measured phrasing gives the lyrics space to resonate. The refrain—“she ran off with my voice”—lands with stark force, transforming reflection into admission. Intellectual yet accessible, the piece balances vulnerability and structure with quiet confidence.

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Songs

3.2.26: Untitled 3 #1 (New book)

Who’s door is that? Yes, truly, one door opens, but can’t I stay here, or go back in time? What if I don’t like it on the other side of that door—and who am I to think that they will open it? Ursula is asking me who’s door this is; but it’s my door, so I must be overhearing something, unless she’s trying to tell me that this is her door, and I should pursue our affair. But to think something like that might be over-doing it, given that, a long time ago, people would tell me that I think too much—and, as I understand, that may have been true, but, if it was, I had a good reason: I never should have been playing baseball in the first place, for example. I should have been drawing and painting, as I soon found out—or, when it comes to women, well, I shouldn’t have been with them at all.

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Novels in real time

2.27.26: Jazz: Two-fold

Two-Fold is written for trumpet in B♭, tenor saxophone, piano, and acoustic guitar. The piece unfolds through clearly defined motifs that circulate between the horns, forming a measured, conversational exchange. Beneath them, piano and guitar establish a steady pulse and harmonic framework, sometimes sparse, sometimes thickened as all four instruments converge. Much of the material gravitates around G and A centers, with repetition used structurally to shape the form. The texture alternates between open space and layered activity, allowing phrases to breathe while maintaining forward motion. The result is reflective but not static — a work grounded in clarity, balance, and gradual harmonic evolution.

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Jazz