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.
As a lot of content is getting shaved from the book of Selected Poetry, most of my author notes are getting removed and replaced with prose. Hours of wasted work, but no matter, that’s how these things go. I will post some of those I feel worse about deleting, so they won’t dissipate into the void.
Sorry for the huge resolution, comes straight from book format.
Our planet is suffering a great deal, and I worry. Our little blue-marble deserves better.
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,
The structure of the composition was severely inspired by Jack Leonard’s song “All the Things you Are“, a beautiful song that was a hit during the 1930s in America.
I finally found a practical and pleasing way to put whole compositions into a single image, took me long enough. I’m not very technologically savvy.
This is another free-hander. I haven’t had much time to sit down and actually compose, so I mostly scribble into my notepad throughout the day and I get these results. At least, I hope they aren’t too bad. And thank you for reading, I don’t often thank people who read and do not comment, and it’s not on purpose, I’m just forgetful. Regardless, thank you so much for following the unglamorous journey of a dreamy kid writing poems.
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.
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.
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 I symbolized it by means of capitalization. Its sort of a character but also a projection.
Line 21 is a reference to Albert Camus’s “The Myth of Sisyphus”
A bit of a poetic mesh of common denominators, but a heart-felt one nonetheless.