a breach in the system. (english poetry)

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.

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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 I symbolized it by means of capitalization. Its sort of a character but also a projection.



noise, peace (english poetry)

Y’all, I’ve been reading too much American poetry, so I’m going through this mixed phase of modernism and romanticism, I hope something good comes out of this because its certainly weird for me to write like this.

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Disclaimer: bulletless doesn’t seem to be a real word, but I don’t get why, so I’m gonna use it anyway.

Disclaimer 2: I’ve since revised the second part of the poem, so if you’re reading for a second time, you may find it different than the original. If you seek the original, you can find it here.



A long abandoned composition, I’ve discovered it on my vaulted document. It describes a dream I had, but a few minutes after I woke up, I could no longer gather memories to continue the composition, so this is all I got…

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etchings of youth.

A crucible of sincerity, vulnerability and late hours can create some of the most painful compositions.

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CATATUMBO (english poetry)

Partially a product of Poetic Lab #1, but it would be more adequate to say it displays power in imagery more so than power in layered time-frames. Regardless, I have much to grow and learn, so soon enough, I hope to develop the ability to control these better.

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Poetry Lab #1


Movement in Animation
Three-layer animated composite


The image above, if carefully examined, displays three differently animated levels distinguishable by their relation to velocity and, by consequence, Time. This animation device has been used to display certain feelings in a much clearer way: her face is animated carefully and slowly, every frame is fluid, to inspire serenity and placidness. Her hair is animated frantically, with frames leaping between animation with little fluidity, alluding to a chaotic exterior and high intensity movement. The background, although blurred, also happens at a time different from the other two layers, presenting a both static and simultaneously – moving – backdrop. This allows for a certain displacement through the fluidity of our space, allowing Art to perforate the emotional human sensors without replicating at all what those sensors are used to, by thematic association. Our world feels much like that of the animation, it constantly moves, yet we cannot fully absorb all it’s evolutions and changes, in turn, accounting for a hollow movement that we can only relay through “mental bookmarks”, like special occurrences, producing a more stop-still version of reality (similar to the one animated above), instead of flowing realistic approach to time.

In fact, Art has a plethora of examples using different composite time frames to convey a sense of “overlook” or “outlander” sentiment among its viewers, mainly present in sensorial arts like music or painting.

To literature – an Art intimately connected with the frugality of time and how it can be controlled within its frames – this device most likely has been used, but never deeply explored. In this first edition of poetry lab, I will attempt to harness my marginal composing experience to translate those planes of time dissonance into the realm of poetry. As I’ve done a good amount of experimental poems in my short time here, I’ve never taken the time to explain the processes or missions behind those experiments, and now I’m headstrong on taking you on my composing journey:


First, we need to figure out how to distend time properly within a written line of text. Poetry, by its very sonorific nature, makes this superficially easy by use of verse length and syllabic control:

I dreamt of latent love, yet within, darkness still reigns unkind, (11 words, 15 syllables)

Air to flame, implored by sinuous shadows, (7 words, 11 syllables)

Extinguish their fear to die. (5 words, 7 syllables)

Following an ordered decrescent sound, each verse has the same amount of syllables as the words of the verse that precedes them (11, 15), (7, 11), (5, 7). This, however, inspires a singular timeline instead of multiples ones, giving a sense that time is accelerating and thus, “running out”. But why not the contrary? Why does it not recall time just slowing down? This is annulled by the temporal references in all verses, displayed in a gradient from past (dreamt, implored), to present (extinguish, to die).

Like mentioned above, this does not relay multiple times but instead, just one flowing in-unit but changing exponentially. We can, however, salvage this later when we compose full stanzas by separating their descriptive nature through the usage of this method. So, instead of separating verses according to time, we will separate stanzas according to what line they represent by giving them symbols:

Stanza 1 – first tempo (11, 15) (plane of interior occurrence, introspection, visual devices must appear here)

Stanza 2 – second tempo (7, 11) (plane of exterior sensorial captures, noise, static, distortion and interruption, sound devices must appear here)

Stanza 3 – third tempo (5, 7) (plane of universal awareness, no sensorial, visual or sound devices can appear here, detached information must not contain emotional draws)

This is merely scratching the surface of what this method can produce, as a shift in the structure mid-composition can relay powerful messages of emotional re-focus, or give a sense of expanding/shortening of knowledge at any given point. The main objective here, however, is that the poem is able to speak to itself and the conversation won’t sound too unphased, so we will stick to the good ol’ repetition, by creating one more set of stanzas with same structure, but different in essence.

As the composition is mainly experimental, I will utilise common meanings I’m familiar with for the sake of my mental sanity (and short amount of time per day I have to compose), those of love and solitude in a frugal world where such things are generally devalued:



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As demonstrated above, I initially compose the first part of the composition within a relatively ordered and rhymed structure, using the lines written above as a visual guide to building the remaining verses. Although this version partially gets the job done, it’s still rather obscure that frames shift between stanzas, and I attempt a more lax yet word-based second part in an attempt to compensate the rigid/restrictive shape of the first version:

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I’ve since let a day pass before writing that second part, as to refresh my information absorption and be less likely influenced by the same recurrent pieces of reception still being digested within (a great advice I’ve accidentally left out of my poetic tips). This second version, although not apparently very different from the first in terms of how it was constructed, manages to convey both the message, the subject and the quest of time much better than the previous, not by means of its structure, but by how words are ordered coupled with how they intertwine, generating a sense of shift from when they fuse and when they don’t (thus, sound shifts).

I must now refine and finish the composition on my own, and publish it similarly to all other poems on the website, but that boring part I intend on doing by myself.

I’m not a professional or academic in this subject, therefore, all conclusions are from my viewpoint and might conflict with certain academic standings out there (although from my research, I’ve found none), but none of this is fact or close to it, I’m just trying to have some fun with words and I hope you’re entertained as well!

PS: Tell me what you think of posts similar to these, I’m planning a bunch more since I have about 20 pages of notes about different composing methods I would like to attempt!


Povo Que Mira Além Do Mar

Tinha saudades de escrever sonetos de segunda-classe (haverá frase mais portuguesa que a anterior?), portanto rendi-me à melancolia naval.

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Uma humilde contribuição à longa tradição artística portuguesa do “povo que”, marcado pelas composições de Pedro Homem de Mello (Povo Que Lavas No Rio) e Dead Combo (Povo Que Cais Descalço).

A parte referente às cores da bandeira não é um produto do meu daltonismo latente e profundo, mas sim à antiga bandeira portuguesa, anterior à verde-vermelha (da qual gosto mais, mas carrega menos sentido simbólico nesta composição específica).

(para leitores brasileiros, “aqueles raios que nunca partem” é um trocadilho com a expressão portuguesa “raios te partam“, que acredito nunca se ter difundido no Brasil, até porque é uma frase feita um pouco pateta)


B.O.O.M (english poetry)

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B.O.O.M was built without structure or subject integrity. Partly built in Portuguese, it was a poetic concept I dribbled into during my ‘poetic diary’ era, stemming from an old relationship I had for quite a while. We had made a habit of playing ‘BOOM’ (also known as The Devil’s Game, Don’t Screw Me, or The Mexican), near the marine front of the Tagus river, in downtown Lisbon, also called “Ribeira das Naus“. We also shared a very big passion for 60s music, which I referenced plenty ‘o times within the composition itself (“What a beautiful feeling” a line from Crimson and Clover, “Under the Boardwalk” a line from a song with the same name.)

The composition also references portuguese writer Eugénio de Campos, another shared passion, with the line “guided by horizons of desolated countries”, a loose adaptation of his verse “um horizonte de cidades bombardeadas” from Palavras Interditas.

It attempts to drawn from the general unfair game of expectation elevating a present sense of perception. Often we create an image proxy to widen the distance between what we experience and what we should ideally be feeling from that experience, allowing for an extension of understanding, but sacrificing present identities in the midst of our own perceptive images. This composition attempts to display that overly complex social mechanism in a more light, poetic manner, tugging and pulling between the ideal (syntaxis) and a more sharp version of reality (parataxis).




I’m tinkering with narrative poetry, perhaps the field I’ve been avoiding the most, since I find it incredibly hard to produce well. I don’t know how this first attempt ranks, but I humble ask of you to tell me what’cha think, as I will be crafting two more to finish the arc.

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