So, bear with me here; I know it’s not great, but I was mashing my brain against this first Canto without any true necessity. Poems like these require a certain heaviness I cannot fully achieve (just yet), my poetry still draws much from my own levity as a person. That being said, the form is still ridiculously volatile, and I apologise for that. So far, The Shades are mostly lyrical, Cocytus is mostly expositive and Luriam is mostly confessional. I would like to keep it that way, but still need to work on their cohesion and how the styles transition. Regardless, if you have any tips, I’m all ears!
Thank you for reading!
Today, I e-published my first title and a wave of terror washed over me. I do not feel quite ready for it. I’m an admirer of so many, and I don’t feel worthy of having people purchase my book just yet. It’s just not something I feel okay with, due to my inexperience and general inadequacy. Still, I feel like I’ve created something special in this humble manuscript. Something worth reading, but not necessarily commercialising. As such, I will un-publish the book and open it to reading in this post, in PDF format, free-for-all. I will, however, also provide a donate button bellow, may you decide I’m worthy of such honour and trust (you decide the amount). What I receive will be used for the purposes previously mentioned – maintaining the website and eventually, a groovy poetry-chilling podcast. Thank you, and sorry. True Ultra – The Book
Author’s Notes: This one is very sloppy structure-wise, but I’m living this thirties fantasy right now and I really felt like writing some stuff related to that, not sure why. But it makes me really happy! The entire poem has references to Al Bowlly. Thank you so much for reading, JOHNNY
Author’s Notes: No actual references of any kind were made in this poem. It was mostly free-handed in paper and I did little to no editing when I transcribed it into electronic format. The quality of it is a bit “meh”, but I find it very sincere, and I value sincere poetry above any other kind. I hope you can still connect with it. JOHNNY
Following the string of compositions from when I initially started posting, you might sight some of the most primitive and uninspired works of web-poetry around, and along those lines of frozen time, you might even find a generally negative disposition I have towards my work, as well as a strong hostility directed at my own artistic development. I believe, albeit probably wrong, that any artist of any craft holds little to no love for a product that is finished, because its the process and the journey that must be loved and nurtured, and the final result: an outburst of pain compounded with shame, a linen woven by acid needles that thrust with every line, every paintbrush and every note of a melody. It is natural to hold hatred towards our own creations, not necessarily because they are parts of ourselves we shed into a piece, but because they are willingly given away and lost, they are mirrors within mirrors and
read more Criticism: spider eggs and self-worth.
I know the last poem and this one are a bit weird and off-tracks for me. Do not be alarmed, I’m tinkering with new sound constructions for “ofuscus“, the sister structure to “excelse“, but since I’m just starting, it’s mostly an exploration of how variant I can make them sound without sacrificing much of both. These are mostly free-hand practices that allow me to gage and compare. Author’s notes: Line 12 is a reference to the book of the same name, “Heights of Despair”, by Emil Cioran. Highly advise you to seek it if you enjoy some grim phylosophy. Line 1 is a reference to a song, all my compositions have at least one of these, sometimes more. In this case, it is “Odd Look” by french musician Kavinsky. Line 17 might look a bit weird, Child is the symbol, while intrumental pain is the syntax. This is done purposefully, but the Child himself won’t appear just here, that’s why
read more a breach in the system. (english poetry)
I couple days ago, I thought to myself, what a wonderful world! And I wanted to write a decently happy composition to demonstrate that. Then it ended up like this, and I’m perpetually confused. I have a verse in portuguese that states “I’ve never written a single happy lyric / Perpetuated by silence of the other side.”, seems like I was clairvoyant of my own future there. Not-so-fun-fact: it was heavily inspired by my night-outs in Lisbon, that in almost seven years, never produced a single long-lasting bond. People are solitaires nowadays. JOHNNY