Instincts, Echoes, and the Work of Coming Back

Of course I trust my instincts. These instincts are the reason I’m still here. They’re the early warning system that kicked in long before I had the language to explain what was happening. They’ve pulled me out of bad situations, terrible decisions, and moments where everything felt razor-thin. Survival sharpens you in ways calm living never will. Yet there are times you wonder if what you’re feeling is actually what’s happening. As someone living with PTSD, even after years of progress, the episodes don’t disappear—they just get quieter, less commanding, but still capable of blindsiding you when life hits at the wrong angle.

That’s the strange part: instincts are made of scar tissue and memory, not magic. They’re a patchwork of everything you’ve lived through—every mistake, every close call, every moment you had to react before you had time to think. And when your past includes trauma, those instincts can carry echoes of things you already survived. Sometimes they show up as alarms, even when there’s no fire in the room. It’s difficult to explain this to people. Not because they don’t care or don’t try, but because they don’t have a point of reference. If someone’s never had their body react to a memory like it’s happening in real time, or never had their nervous system jump to high alert over a sound everyone else barely notices, there’s only so much they can understand.

It’s not their fault. It’s simply the gap between lived experience and good intentions. But sometimes that gap feels like its own form of isolation. You end up minimizing what you feel or staying quiet because explaining it feels like trying to describe color to someone who’s only ever seen in grayscale. Eventually the question becomes: Why bother? And that silence can be its own kind of weight.

Even so, with the right support and coping tools, you really can relearn how to trust—not just your instincts, but yourself. Healing isn’t about shutting off the alarms; it’s about recalibrating them so they stop drowning out everything else. You learn to tell the difference between a real signal and old static. You learn how to talk yourself down without dismissing what your body is trying to say. You realize you’re not fighting your nervous system—you’re retraining it. Support and coping skills create space between the present moment and the past, and that’s the space where self-trust has room to grow.

But healing isn’t linear. There are days when every tool you’ve learned goes out the window. Days when your instincts feel unreliable, when your body reacts before your brain catches up, when everything hits at once and you’re back in old patterns without warning. Those days can make progress feel imaginary. But they aren’t the whole story. Because the very fact that you can name what’s happening now—the fact that you can reach for help, reach for tools, reach for clarity—means you’re not where you used to be.

Trust isn’t a single leap. It’s a series of small choices where you refuse to abandon yourself. Over time, instinct and self-trust start to merge again, the way they were always meant to. You move from surviving to navigating, and eventually, to living with a steadiness that’s earned, not imagined.

It’s not perfect. But it’s real. And real is enough.


Do you trust your instincts?

Skills from a Graduate of the School of Hard Knocks

If I’m being honest, the things I’m good at didn’t come from any classroom with fluorescent lights and tidy rows. They came from life pulling me aside, usually at the worst possible moment, and saying, “Pay attention—this part matters.” Most of what I know was earned the long way: scraped knuckles, late nights, and a few seasons where survival wasn’t guaranteed but somehow still happened. These skills didn’t unfold gently. They arrived as consequences, as revelations, as the quiet clarity that follows a storm.

One thing I’ve learned is that I’m better at creating a feeling than I am at delivering a finished product. I don’t sit down to produce anything polished or algorithm-friendly. I write to capture a moment’s temperature—the hush before a confession, the weight of a truth someone’s been carrying too long, the strange peace that settles in when you finally stop pretending everything is fine. I follow the line that tightens my chest because that’s where the real story is hiding. Atmosphere isn’t decoration; it’s the closest thing I have to honesty. And if someone walks into that space and feels seen, then the work did what it was supposed to.

I’ve also learned how to make complicated emotions legible—not tidy, not simple, but real. The heavy stuff never hands you clean language. Grief has its own dialect. Shame speaks in whispers. Loneliness shows up wearing someone else’s coat. Most people run from these things because they think naming them will make them bigger. But I sit with them long enough to understand their shape. Not because I’m brave—because I don’t know how else to move through the world. If I can translate that heaviness into a line that makes someone pause and think, “Yeah… me too,” then maybe the weight becomes shareable.

Another skill I’ve picked up is the ability to hold a ridiculous number of moving parts without letting the whole structure collapse. MKU. MoM. HoT. Fiction arcs. Art projects. QOTD. Image collections. The universe I’m building is messy, sprawling, and sometimes bigger than I intended. But even in the chaos, there’s a thread running through it—something emotional, instinctive, connective. I don’t always know where the thread is leading, but I know when I’ve lost it. And I know how to find my way back by listening to what the work is trying to become. People mistake this for multitasking; it’s really just surviving the storm with both hands open.

I’ve stopped worshipping the first draft. If a piece doesn’t feel right, I tear it apart, not out of self-doubt but out of loyalty—to the truth, to the reader, to the version of myself that refuses to settle for the easy version of anything. Revision is where the honesty happens. It’s where the mask slips. It’s where I notice the lines I wrote to protect myself instead of reveal something. I’ve rebuilt myself enough times to know that tearing something down is just another form of creation.

And finally, I adapt. Quickly. Quietly. Often without applause or acknowledgment. Life didn’t give me the privilege of staying the same for long. Every year demanded a new version of me—some built by choice, others by necessity. Adaptation isn’t a talent; it’s a scar that learned how to walk. When something breaks, I adjust. When something shifts beneath my feet, I move. Reinvention stopped feeling dramatic years ago; now it’s just how I breathe.

These are the skills I’ve gathered on my way through the wreckage. Not glamorous. Not marketable. But real. They weren’t taught—they were carved. And maybe that’s the mark of a true education in the school of hard knocks: you don’t graduate with honors. You graduate with perspective. With endurance. With stories you didn’t ask for but somehow needed.

And when someone asks what you’re good at, you finally have the language to answer—not with pride, but with truth.


The Boy Who Wasn’t Afraid of the Dark

There’s something about the night I’ve never managed to explain without feeling like I’m circling the real truth instead of touching it. It isn’t just the absence of light. It’s the way the world exhales after midnight, how everything settles into a version of itself that feels more honest. If you’re a night person, you already know what I mean—you don’t need me to draw a map to that place.

As a kid, I treated the night like a sanctuary no one else had discovered. The dark didn’t judge, didn’t demand, didn’t tap its foot waiting for me to prove something. I used to get sad when the Dawn arrived—not out of melodrama, but because daybreak felt like someone flipping on the fluorescent lights, telling me to sit up straight and get back in line. Dawn was order. Dawn was expectation. Dawn was the world reminding me I owed it something.

Night never asked for payment.
It just handed me the keys and stepped aside.

I really believed there were no rules after sunset. In the dark, the harsh edges of the day softened. The noise thinned out. My thoughts stopped running defense and finally came out from hiding. The boy I was didn’t have the language for it, but he understood the feeling: Night made room for him in a way life rarely did.

Looking back, I can see how much of that was escape. The night gave me cover—space to imagine, space to feel, space to acknowledge things I wasn’t ready to say out loud. But escape isn’t always cowardice. Sometimes it’s survival. Sometimes it’s the only way a kid can breathe.

And even now—older, carrying more history than I ever expected to survive—I still feel that tug when the sky lightens. There’s a part of me that mourns the end of the hours where I don’t have to pretend to be anything. A part that whispers, Hold on… not yet.
That boy is still in there. He still trusts the dark more than the dawn.

But here’s the thing I keep circling back to: the night didn’t make me free. It made me honest. There’s a difference. The dark gave me room to face myself without all the day’s noise confusing the signal. It let me consider who I was becoming, who I wasn’t, who I might still be if I stopped running long enough to look in the mirror.

And some nights—when the world goes quiet and the air feels like it’s holding its breath—that honesty still slips through. It reminds me why I loved the dark in the first place: not because it hid me, but because it revealed the parts of me I didn’t yet know how to live with in the light.

The Hardest Decision Was Saying Yes to Myself

Daily writing prompt
What’s the hardest decision you’ve ever had to make? Why?

The hardest decision I’ve made recently wasn’t life-or-death. It was deciding to release my work—actually release it. Not hide it in drafts. Not polish it into oblivion. Not drop something small into the void and pretend I didn’t care about the silence afterward. The real battle wasn’t skill or imagination. It was belief—my own.

And I had reason to hesitate. I’d put work out before, here and there. A story, an image, a thought I didn’t mind people ignoring. And they did. The response was minimal or nonexistent, and that kind of quiet gets inside your head. It feeds every story you whisper to yourself at three in the morning: Why do I bother? What does it take to keep going? No one’s reading me anyway. Silence is its own kind of confirmation bias. It tells you you’re forgettable long before you ever get a chance to be known.

Then 2024 hit, and everything went sideways. I was terribly ill—bent, shaken, barely holding myself upright some days. But the blog? Strange as it sounds, it became the one place that felt sane. Real. Safe. My body was chaos, but the work gave my mind somewhere to breathe. I didn’t write because I was inspired. I wrote because it was the only steady ground I had left to stand on.

2025 rolled in with its own question mark hanging over my head. I’d survived—but now what? Who the hell was I supposed to be after everything? No grand gestures; those are just New Year’s resolutions dressed up in fancier language. We make them because we mean well, but half the time we don’t say them out loud. Not because they’re secret—shhh, G-14 classified—but because if we fail, at least the failure stays private. No ridicule. No audience.

Still, I was creating. Since 2023, I’d been grinding like a madman, pushing out content as if volume alone could outrun doubt. But earlier this year, something shifted. I slowed down. I started choosing quality over quantity. Fewer posts, deeper ones. Work that actually had weight. And the analytics—when they finally came—didn’t just pat me on the back. They confirmed it. Memoirs of Madness has had its best year ever. I’m proud of the work, sure. But what hits harder are the unexpected relationships that have come out of this place. That’s the real measure of success. Connection. Not clicks.

Only after all that did I look back at why I never trusted the praise from friends and family. It wasn’t that I doubted their honesty. It’s just that love carries a bias. It’s like being the most beautiful woman in four counties. Everyone knows it, everyone agrees. She leaves home expecting doors to swing open—only to find herself in a city where everyone is beautiful and suddenly she’s average. Not any less beautiful, just no longer exceptional by default. Creative praise works the same way. When the only eyes on your work are the ones already in your corner, it’s easy to confuse affection with validation. And easier still to hide behind that confusion.

But the last seven or eight months changed everything. I kept showing up. The work matured. The engagement grew. Strangers—people with no stake in my ego—connected with pieces I almost didn’t release. It wasn’t validation I was chasing. It was proof that the work could stand in bigger rooms. And for the first time, it could.

Releasing my work wasn’t the victory. That was just the surface.


The real decision—the hard one—was finally trusting that it belonged in the world.
Once I chose that, the rest started falling into place.

That Grown Folk Shit

Song Lyric Sunday • Theme: Rivers, Streams, Creeks, Brooks

We got those Sunday Jazz Vibes going. It’s never intentional, but it’s always right. The slow grooves of Grover Washington Jr. set the tone before the coffee even cools. The things that man does with a sax ought to be illegal in a few states.

“East River Drive” rolls in like a slow-moving tide — smooth on the surface, dangerous underneath. It’s one of those tracks that pretends to be background sound until you realize you’ve stopped whatever you were doing just to follow the way he bends a note. That sly confidence, that river-road swagger. The rhythm section lays back like it’s got nowhere to be, while Grover glides above it all, mapping the emotional coastline of a Sunday morning.

A subtle deep groove — the kind that whispers instead of shouts, trusting you’ll lean in.

And somewhere between those warm horn lines and the long exhale of morning, my mind drifted downstream. That’s when the tonal shift hit — jarring in the best possible way.

Sliding from Grover into Melody Gardot is like stepping out of warm light into cool river air. Grover softens the room; Gardot sharpens it. His sax gives you glide. Her voice gives you gravity. With Grover, the river moves. With Gardot, the river speaks.

She pulls you in with that first line:
“Love me like a river does.”

On paper, it’s simple.
In her mouth, it’s a philosophy.

The river isn’t passion.
It’s not urgency.
It’s not the cinematic love-story nonsense we were raised on.

A river flows.
A river returns.
A river shapes the land without ever raising its voice.

She’s not asking for fireworks.
She’s asking for endurance.

Then the quiet boundary:
“Baby don’t rush, you’re no waterfall.”

That’s the deal-breaker disguised as tenderness.
The waterfall is the crash, the spectacle, the “falling in love” that feels good until you’re pulling yourself out of the wreckage.

She wants none of that.

Her voice is soft, but the boundaries are steel.

Strip away the romance of rivers and waterfalls and what she’s really saying is:

“If you’re going to love me, do it in a way that won’t break me.”

That’s not fear.
That’s experience.

The next verse shifts from river to sea — steady flow to swirling depth. Not for drama. For honesty. Intimacy always disorients you a little.

But even in that turbulence, she returns to her anchor: no rushing, no crashing, no spectacle. Even the sea has tides. Even passion needs rhythm.

Then the lens widens — earth, sky, rotation, gravity. Love as cycle, not event. Love that keeps you grounded without pinning you down.

And then back to the whisper:
“Love me, that is all.”

Simple words.
Colossal meaning.

What I love about this track is that it refuses to lie.

It doesn’t speak of love the way movies do — all gush, sparks, and declarations nobody could sustain after the credits roll. Gardot isn’t chasing fireworks. She’s not interested in romance that burns hot and disappears just as fast.

She’s talking about grown-folk love.

The kind that shows up.
The kind that lasts.
The kind built on years, not moments.

Her metaphors — river, sea, earth — aren’t poetic decoration. They’re durability tests:

Can your love flow?
Can it deepen?
Can it cycle?
Can it stay?

She’s asking for a love that tends a lifetime, not a scene. A love shaped by presence, not passion; by commitment, not chaos.

The kind you don’t stumble into.
The kind you earn.

And maybe that’s why this one gets me every time — there’s a difference between love that excites you and love that holds you. I’ve lived long enough to know which one matters more.

And let me say this plainly: this track comes from Melody Gardot’s debut album. Worrisome Heart was her first offering to the world, and I’ve rarely seen that kind of sophistication and grace appear so fully formed on a debut. Most artists spend years trying to grow into this kind of emotional control — the restraint, the nuance, the quiet authority. Gardot walked in with it from day one. No hesitation. No warm-up laps. Just a young artist already carrying the poise of someone who’s lived a lifetime and managed to distill it into song. Truly a marvel.

Before you watch the performance below, a quick note:
This reflection is based on the studio version of “Love Me Like a River Does,” from Worrisome Heart — the quiet, intimate rendition where she whispers the philosophy of grown-folk love straight into your chest. But in the live version you’re about to hear, she opens with something unexpected: the first verse of Nina Simone’s “Don’t Explain.” It’s a deliberate nod — smoky, weary, full of Simone’s emotional steel — and Gardot weaves it in so seamlessly you barely notice the transition until it’s done. One moment you’re in Nina’s world of bruised truth; the next, Gardot slips into her own song like it was always meant to follow. It turns the piece from a gentle plea into something closer to a declaration.

What makes the song hit is how Gardot never pushes. The arrangement stays minimal. The room stays dim. Every breath has space around it.

It’s intimacy without intrusion.
Truth without theater.

A quiet manifesto from someone who knows the cost of loving too fast and too violently.

She’s asking for love like water — not the kind that drowns you, but the kind that carries you and keeps coming back.

A grown-folk kind of love.
A river kind of love.
The kind that lasts because two people choose the flow over the fall.

And maybe that’s the real Sunday lesson — some songs don’t need volume to be heard. Some just need stillness.

Sometimes Bare Trees Are the Loudest

Groovin’ with Glyn — November, Week 2

Track: “November Trees and Rain” – Marie Dresselhuis

On most November mornings, there’s a chill in the air. Not the kind that grabs you by the collar and shakes you awake, but the subtle kind — the one that lets you know it’s there. It moves slow, almost tender, until your body shivers without asking permission.

I hear the morning before I see it. A woodpecker knocking its code into the trees, winter birds answering in their thin, determined voices. I close my eyes and let the breeze speak for a while — the rustle of fallen leaves, the soft give of the season shifting underfoot. There’s a certain beauty in the bareness of the trees. Something quiet. Something honest. Not something I can describe cleanly in words, but it’s beautiful all the same — the kind of beauty that doesn’t need witnesses.

Then the world shifts again — one of those November moments of return. The air brakes hiss, then squeal, and suddenly the stillness cracks open. Children rush toward the bus, half-awake, half-dressed, somehow always unprepared and always ready. The adventure begins whether they are or not.

I remember my own kids doing the same. I miss those mornings — not with regret, but with that quiet wish a father carries for a different version of himself, a different decision made on a different day.

Guppy’s cry pulls me back. She’s in my chair, staring at me like I’m late. Her way of reminding me that the present is still here, still demanding, still alive. Work waits. Memory wanders. But Guppy doesn’t let me drift too far.

So let us go then, you and I, into this next stop in Groovin’ with Glyn — that mixed music bag I keep rummaging through.

November Trees and Rain” doesn’t try to dazzle you. It doesn’t fight for attention. It just unfolds — steady, slow-water honest. The title alone feels like a location on a map: somewhere between the last red leaf falling and the moment the season exhales. The guitar comes in like breath; the vocals come in like thought; the whole thing feels like watching the world turn the page while you stand there holding the corner.

This is a song for people who know how to sit with themselves.
Not judge. Not fix. Just sit.

The Devil’s Voice in the Back of the Room

Not everyone trusts the quiet. They say they do, but not really. They want to be shocked and awed underneath while saying, “it’s so peaceful.” Some people hear a slow song and panic — like silence might reveal something they’ve worked hard to bury. Give them rain and they’ll close the blinds. Give them bare trees and they’ll look at their phones. Give them a morning like this and they won’t hear anything but their own hurry.

A song like “November Trees and Rain” has no chance with them.
Too inward.
Too honest.
Too close to the bone.

But November isn’t for cowards.
And neither is this track.

The Lift — Why It Belongs Here

Because there’s a moment midway through the month when the noise dies down — not the external noise, the internal one. This song fits right into that pocket. It’s the sound of a thought finally forming. The kind of realization you don’t chase; it arrives on its own timetable.

“November Trees and Rain” is what happens when the world stops performing and just is.
Bare.
Wet.
Cold.
True.

It reminds you that not everything beautiful announces itself — some things just endure.

Week 1 woke us.
Week 2 asks us to stay awake.

Because the trees are bare now, the rain has longer stories to tell.
Are you ready to listen?


Can You Read a Person’s Soul in Five Seconds?

Daily writing prompt
What’s the first impression you want to give people?

When I was young, they drilled it into us: “First impressions are lasting impressions.”
Dress right, talk right, act right.
Show people the best version of yourself and they’ll treat you accordingly.

Then I stepped into the world as a Black man in America and learned the fine print they never bothered to mention:
some folks made their impressions before I even opened my mouth.
They’d look at me and decide who I was, what I was, and where I belonged.
Then came the compliments disguised as praise—“articulate”—like I’d crawled out of the woods dragging a club and a grunt.

I wish I could say that nonsense is ancient history.
That we’ve evolved past it.
But I’ve lived long enough to know you can pull down statues, rename buildings, and rewrite curriculum, and still never undo the generational damage.
When I was a kid, history class felt like a bragging session: Look what we did to these people.
The day I discovered the truth about President Lincoln—his contradictions, his motives, the myth vs. the man—I blew up in class and got tossed out.
Didn’t help my GPA, but it sure helped my clarity.

Funny thing is, I didn’t let that anger harden me.
I kept reading.
And the more I learned, the more Lincoln felt like someone I could actually respect—someone I could sit down and have coffee with, contradictions and all.

Years later, my daughter came home with a school assignment about Lincoln, and I saw my opening. I had the knowledge. I had the books. I had the truth.
But something said, Slow down.
So I asked her, “Do you want the truth, or what they teach you in school?”
She chose school.
And I understood.
The whitewashing had already reached her generation.
Her innocence was intact.
Her hope was intact.
And I wasn’t ready to be the one to crack it.

That same daughter once refused to watch movies about racism.
Hands on her hips, chin up, she said, “It isn’t like that anymore.”
A moment of pride mixed with dread.
Because I knew she was wrong—not out of foolishness, but out of youth.
I knew one day the world would show her its teeth.
And the worst part?
There wasn’t a damn thing I could do to stop it.

Eventually, she came back to me with another assignment—Malcolm X this time.
She knew exactly what she was doing.
The moment she said his name, I switched on like a breaker panel.
I dragged out every book I had. I told her everything school would never teach her.
That kid didn’t lift a finger for that assignment.
I did the whole damn thing.
Yep—she played me.
I still tease her about it.

But I’d be lying if I said I don’t make snap judgments of my own.
When you’ve lived long enough, patterns get etched into you.
But every now and then, life steps in and reminds me I don’t know everything either.

Once, in Wyoming, I’d forgotten my shower kit and wandered into a general store expecting the usual sideways looks.
Instead, the woman at the register glanced at my items and said, “Honey, you forgot…”
She pointed out what I missed, sent me back for it, and checked everything again when I returned.
“Now you’re ready,” she said.
Simple kindness.
Caught me off guard.
Still makes me smile.

Another time, in Montana, a freak storm trapped us in a Chinese restaurant. Power went out, candles came on, and the kitchen kept rolling like it was nothing new.
I went to the bathroom, and an older gentleman nearly jumped out of his skin when he saw me.
I said, “Hell, I’m not gonna cook you and eat you.”
Let it hang there.
He burst out laughing. We walked out with nods of mutual respect—two strangers caught in something human.

Later that same night, a man walked up to my table—me and my biracial friend—and asked, “You having fun?”
Same words, twice.
Same smile that doesn’t smile.
My friend tensed. I put a hand on him to settle him.
Storm wasn’t going anywhere.
No point making our own.

And here’s the thing:
When America talks race, everything gets framed as Black vs. White.
Two sides. One battlefield.
But history wasn’t that small.

Black folks and White folks just had better publicists.

Because while America was glued to civil rights marches on TV, every marginalized group in this country was fighting their own battles:

Asian immigrants finally broke through racist immigration quotas with the 1965 Immigration and Nationality Act.
The Chicano Movement reshaped labor rights, education, and political identity.
Native activists occupied Alcatraz, formed AIM, and demanded sovereignty.
In 1969, N. Scott Momaday became the first Native American to win the Pulitzer for Fiction.
Japanese Americans were fighting for redress after internment.
Filipino farmworkers sparked the grape strike.
And the Stonewall uprising ignited the modern LGBTQ+ movement.

Everyone was fighting.
Everyone was changing the country.
But America prefers a tidy narrative.
Reality never asked for one.

So let me be clear before someone tries to twist my words:
This isn’t a Black vs. White essay.
Not even close.

Because hate?
Hate is colorblind.

It doesn’t care about race, religion, gender, sexual orientation, or whatever else we invent to justify cruelty.
I learned that the hard way.

I was overseas once—a situation that turned violent fast.
Not combat the way we trained for.
Not patriotic speeches or heroic music.
Just raw hate aimed at a group of Americans who looked like the whole world shrunk into one squad.
Black, white, brown—none of it mattered.
They didn’t hate our skin.
They hated our nationality.
And they came at us like it was sport.

We came home bonded by survival, only to step back into a country where the old assumptions waited like unpaid bills.

These days, I laugh—but not because any of it is funny.
I laugh out of frustration and exhaustion.
Because sometimes that’s the only release valve a man’s got.

So first impressions…
they have their uses, I suppose.
But I’ve seen them lie, and I’ve seen them reveal the whole damn soul of a person.
Sometimes they’re nothing but noise.
Sometimes they expose the heart.
You learn to pay attention—not to the surface, but to the truth leaking around the edges.

And while folks are busy misjudging me on sight, I remind myself of one truth:

We fought to protect “God and Country.”
So if you’re out here treating me falsely,
just remember—
I defended your right to do it.

Damn, I’m good at my job.

I Didn’t Grow Up — I Got Drafted

Daily writing prompt
When was the first time you really felt like a grown up (if ever)?

Some people swear I was never a child. They talk about me like I came out of the womb already irritated with humanity—scowl pre-installed, voice warmed up and ready to yell at strangers. And honestly? I get it. I spent over twenty years raising my voice for a living. Hard to picture a guy like that in a onesie, getting hyped over stickers and suckers.

But I remember it.
I remember rolling my eyes with the kids and grandkids—performing the whole too cool for this act—but also hoping, in that quiet place you don’t admit out loud, that nobody ever broke their hearts or stole their joy. There’s something about watching innocence that makes you want to stand guard, even if you pretend you’re above it.

Still, none of that made me feel grown.
Not the early milestones everyone swears matter. Not the first kiss, the first heartbreak, or the first time I put on a uniform and pretended I knew what I was doing. I hit all the checkpoints without crossing the threshold.

Adulthood didn’t sneak up gently.
It came as a year—a tight, unrelenting twelve months—where mortality stopped being philosophical and started breathing down my neck. I remember one night in particular: stepping outside after an incident, dust still floating in the air, adrenaline refusing to let my hands settle. That was the moment I understood life wasn’t theoretical. It could vanish, just like that.

And somewhere in that stretch, something inside me shifted. Not a big, cinematic revelation. More like an internal fracture you can’t ignore once you hear it.

The kid in me didn’t disappear; he just stopped driving. Maybe he stepped back. Maybe he grew quiet. Maybe he finally understood the stakes.

Because once I walked onto a battlefield, I knew I wasn’t a kid anymore.
You feel the ground vibrating under your boots, and it rearranges something in you. Permanently. After that, youth stops being a phase and becomes a memory.

People love to believe adulthood is a choice—something you claim, or celebrate, or ease into with birthdays and responsibilities.

For me, it arrived in the dirt and the dust and the dark.
A draft notice I never signed, delivered on a day I can’t forget.

I didn’t grow up.
I got drafted.

The Place That Doesn’t Ask Anything of Me

Daily writing prompt
If you could live anywhere in the world, where would it be?

If I could live anywhere in the world, I’d choose a place that doesn’t demand explanations or performances. I’ve lived in cities, deserts, the deep woods — turns out I can settle in just about any landscape as long as it leaves me room to disappear a little.

These days, I picture a small town within driving distance of my hideaway. A place where the market clerk nods without prying, and the librarian teases me about my tattered books but respects the depth of them. Guppy wouldn’t trust her at first, naturally. But a few well-timed treats would work faster than diplomacy ever could. Age catches up with all of us, but if anyone’s going on a diet, it’s her.

Most mornings would start the same: a meditation-heavy book cracked open, a good pen waiting, coffee steaming, my thoughts wandering until Guppy yanks me back to earth with a judgmental meow. Just enough contact with the world to keep me grounded — not enough to get invited to supper. (People get touchy when you say no.)

What I’m really chasing is a chance to breathe. A place where the air isn’t sharpened by worry, where everything isn’t a potential threat even when it isn’t one. Somewhere I can write without the static of the world pressing in, where anonymity isn’t loneliness — it’s relief.

And at the end of each day, I’d know I chose right: Guppy stretching and settling into her next perch, the porch light catching dust in the evening air, the quiet presence of night creatures moving around me. They don’t disturb me. I don’t disturb them. Just a mutual agreement to exist without fear.

Hard to ask for more than that.

What I Found, What I Kept, What I Became


A simple sewing kit, a lifetime of inherited rhythm.


I ended up with my mother’s sewing kit after she crossed over, though “kit” might be too generous a word. It was a simple plastic box the color of old Tupperware, caked in decades of dirt and lint and whatever life had rubbed off on it. I emptied the contents, cleaned it, and put everything back the way I remembered. Funny thing is, I didn’t think I remembered much—until I did. Muscle memory is honest like that.

She used to have me sit beside her while she ran her old Singer like it was a locomotive. Heat built up around that machine. The motor would hum, fabric would spark with static, and the whole room felt charged—like electricity and summer trapped in a small space. My job was simple: keep the needles threaded and the bobbins loaded. I’d keep a couple wound and ready so she’d never have to stop. Every time she hit her groove, something new for my room came out of it. I didn’t buy store-bought sheets until I got married.

I learned to sew, knit, crochet—“girlie things,” the world called them. I say that with a smirk because later, when I had daughters, I taught them the same skills I wasn’t “supposed” to know. Nothing shuts down a stereotype quicker than a man who can backstitch better than you.

After she passed, I didn’t want to use her kit. That box felt like sacred ground. I told myself I’d build my own—fresh basket, fresh tools, fresh start. I even wrote out a supply list. But finding the right basket turned into a ridiculous odyssey. I mentioned the problem to a friend, and she told me, “You know, it’s okay to use your mom’s.”

I refused without thinking.

She didn’t push. She just said softly, “She wouldn’t mind.”

But that was the thing—I minded.

The kit sat there for years. Cleaned, restored, untouched.

The turning point came the day I wandered into a store to look at sewing machines. I wanted something that felt close to her old Singer, though I knew nothing like it existed anymore. The man behind the counter didn’t ask what kind of stitch work I did or what machine I learned on. Didn’t ask about thread tension or feed dogs or bobbin types. He just talked price.
Over and over.
Like money was the point.

I walked out without saying much. If the first thing you bring to me is cost instead of purpose, we have nothing to talk about.

I went home and opened her kit again. Those old Singer needles were still inside—delicate, outdated, impossible to replace. I picked one up and threaded it without thinking, the way she taught me. When I pricked my finger, I could practically hear her: “Where’s your thimble?” The kind of thing she’d say with half-exasperation, half-love. I stuck my finger in my mouth like a kid, and for the first time since she crossed the veil, I smiled.

She once told me, “I’m teaching you all this stuff because knowing you, you’ll marry a woman who doesn’t know how to do anything.” She said it with affection, the way mothers do when they’ve already figured you out.
She was wrong, of course. I didn’t marry a woman like that.

I remember a visit where Mom and my late wife argued—good-natured but firm—about who spoiled me the most. According to them, I was spoiled rotten. According to me, I’m just a man who thinks things ought to be done a certain way.

Hell, right is right, right?

You know, the precision of that first stitch—after all those years—hit me harder than I expected. Something about it was too perfect, too familiar, like my hands remembered a language my mind forgot. And now that I’m older, I find myself full of questions I’d ask my mother and my late wife if the veil worked both ways. It never does. There’s always a million things you want to say to someone once they’re gone.

Looking back, I think teaching me all that sewing and knitting wasn’t just about preparing me for some imaginary woman who couldn’t thread a needle. I think she was keeping my hands busy, slowing down a mind that ran too hot, too fast. At the time, I didn’t believe there was a woman on this planet who couldn’t sew, stitch, or fix something. Then I dated one. Funny thing—I even thought about marrying her. Maybe my mother knew something I didn’t.

There’s something about using my hands that stills me. Crafting, repairing, working with tools—it forces my mind to slow down and focus in a way nothing else does. Writing pulls me outward into worlds that don’t exist yet, chasing the unknown. But when I sew, or mend, or make something real, the world narrows to the size of the task. It started with that old sewing kit on the shelf. But it grew into something much larger. Using her tools isn’t about the past anymore.
It’s how I keep my hands steady enough to build the future


Daily writing prompt
What’s the coolest thing you’ve ever found (and kept)?

Quote of the Day – 11082025


Personal Reflection:
Silence has a weight you can’t measure — only feel. It presses gently against the edges of thought, waiting for you to notice it. Most people rush to fill it, terrified of what it might reveal. But Rumi knew better. Silence doesn’t flatter, it doesn’t negotiate — it just tells the truth. The way still water reflects your face, silence reflects your soul. It’s honest even when you’re not.

We live in a world allergic to quiet. Even our grief has a soundtrack now. We drown in commentary, afraid that stillness might expose how much of what we say is just noise. There’s a strange intimacy in silence — the kind that makes you confront your own mind. You start to hear things you’ve been avoiding: the echo of unfinished forgiveness, the ache beneath your composure, the fear that if you stop speaking, you might finally have to listen. Silence is an unkind teacher, but an honest one. It reminds you that clarity rarely comes with comfort.

And yet, silence also keeps us alive in ways noise never can. It teaches you to wait, to observe, to recognize the faint pulse of what is real. When you sit inside it long enough, it begins to reorder your senses. You stop needing to explain yourself. You start to understand that truth doesn’t need your defense — only your attention.

Maybe silence isn’t absence — maybe it’s the soul’s original dialect. Every time you return to it, you’re reminded that life doesn’t need to be narrated to be lived. The quiet doesn’t lie because it can’t — it has nothing to prove. If you can bear its stillness, it will tell you everything you’ve forgotten to hear: that peace was never lost, only buried under noise; that grace has been waiting for you to shut up long enough to arrive.

Silence doesn’t demand faith — it demands presence. It’s not passive; it’s participatory. It’s you, meeting yourself without a script.


Reflective Prompt:
What truth hides beneath the noise in your life — and what might happen if you stopped filling the silence long enough to hear it?

Confessions of a Horrible Student II: The Connie Winford Diabolical

Daily writing prompt
What was your favorite subject in school?

“Because sometimes the lessons that shape you come folded, ink-stained, and intercepted by your parents.”

The last time we talked, I narrowly escaped the fallout from The Battle.
I still don’t know why my father even put up a fight. In situations like that, Mom wins—she always wins.

Dinner was late that night, and Dad’s last nerve; frayed. He moped around the house like a rejected understudy in his own life. Mom chuckled every time she passed him—quietly, of course, out of his line of sight.

But enough about The Battle. I’m here today to tell you about my next misadventure: The Connie Winford Diabolical.


Suppose you’ve ever been twelve and suddenly realized that girls weren’t carriers of incurable cooties but mysterious, magnificent creatures who smelled like shampoo and danger. In that case, you already know where this story begins. And what were those bumps on their chest? Some mysterious growth? Were they dying? Nope—they were boobs. The downfall of man.

Middle School.
The arena of hormonal confusions, bad decisions, Grey Flannel, and Drakkar. The mixture alone was enough to make anyone hurl. But back then, we had the constitution of gods—right up until alcohol got involved. That’s a story for another day.

By then, I’d graduated from class clown to romantic visionary. English was still my thing, which meant I’d discovered a weapon far more dangerous than spitballs—words.

I started writing notes. Not just any notes. Masterpieces. Folded with precision, tight enough to survive the perilous journey across the classroom. Each one a mini-drama of doodled hearts, overwrought metaphors, and shamelessly borrowed Hallmark poetry.

Shakespeare would have been proud.

However, evidence suggested otherwise.

Then came The Note.

She was new—a transfer student, with curly hair, a smile like she’d been warned not to use it in public. Connie Winford. A name that still sounds like a trap.

I slipped her my finest work: a declaration of eternal middle-school devotion written in purple ink. It included the words destiny, soul connection, and—God help me—forever.

She giggled. I took that as a victory. But she showed her best friend, who showed another, and by lunch, the entire cafeteria knew I’d pledged undying love. They had thoughts. Loud ones.

I tried to play it cool. That lasted six minutes. Then, in a fit of damage control, I wrote a second note claiming it was all a joke. She didn’t buy it. My teacher, who intercepted note number three, definitely didn’t buy it.

By 2:15, I was in the principal’s office. By 3:00, my parents had been called.


Home.

My father was furious. “No man in this family conducts himself like this,” he said.

Mom countered, “What about Uncle Butch?”

My father popped, “You think this is a laughing matter?”

I braced myself for the usual surrender—Mom softening, saying something like, Of course not, dear.

But not my mama. No way.

“Yep, freaking hilarious,” she said. “You act like you didn’t pass me notes in school. If I recall, your note was worse than his. Plus, your folding was terrible. Everyone knows it’s about the presentation. Eat your peas.”

Dad said nothing. Just stabbed at his plate, probably reconsidering all his life choices.


That night, I did what any self-respecting, lovesick fool would do: I called her. The house phone was mounted on the kitchen wall—the kind with a coiled cord long enough to lasso a small horse. I dragged it down the hallway into my room and whispered my apology, voice trembling like it carried state secrets.

Things were going well—until I heard it.

A click.

The quiet death of privacy.

My parents were listening in.

Mother’s voice came first: “That’s a mighty long cord for a short conversation.”

Then Father, dry as ever: “Son, next time you write a love note, use better paper. That cheap stuff smears.”

This from a man who knew his folding game was subpar.
Was I adopted?

They tag-teamed me. There was no escape.

I hung up the phone, face burning, dignity in ruins.

The next day, my teacher sentenced me to read from the dictionary during lunch. I didn’t mind. It felt poetic somehow.

That’s the day I learned two things:

  1. Love makes geniuses stupid.
  2. Parents have a sixth sense for dial tones. Some may even say, they feel a disturbance in the Force.

And maybe—just maybe—that’s when I became a writer. Because if you’re going to get in trouble for your words, they might as well be worth reading.
Until you get in trouble saying nothing. Again, a story for another day.

Oh Look, Another Time Travel Question 

They asked what my life will be like in three years. I told them I’m still trying to figure out next Tuesday. 

Some men build time machines. Others read about alien pods and synthetic sheep, hoping to understand what went wrong with the species. I do both — coffee optional, cynicism not. 


Every time someone asks about the future, I picture a crowd of anxious humans trying to schedule the weather or negotiate with fate via Google Calendar. It’s adorable. Come here, let me pinch your cheek. Really—this obsession with pretending we’re in control. I’ve met potholes with a stronger sense of inevitability. 

Three years from now, I’ll probably still be working on the time machine in my basement. People keep asking why. I tell them it’s cheaper than therapy and safer than dating apps. Besides, time travel makes more sense than “five-year plans.” At least with time travel, you accept the paradox. With planning, you just lie to yourself more efficiently. 

So, keep endless scrolling and doing your TikTok dances. Because apparently no one needs cable anymore, and I suppose that makes you a public servant now. So—high five? What? Get away from me… weirdo. 

In three years, I hope to have mastered the fine art of not giving a damn about metrics. Maybe I’ll finally stop apologizing for slow progress and start celebrating that I’m still moving at all. I might have fewer teeth, more coffee stains, and the same bad back—but I’ll also have more stories. And if that’s not progress, what is? 

If the time machine works, I’ll visit future me just to see if I ever stopped procrastinating. My bet? Future me is standing in the same spot, muttering something about “calibration issues” and sipping cold coffee. If that’s the case, I’ll pat him on the shoulder, tell him he did fine, and leave him to his nonsense. 

Because maybe that’s the secret: it’s not about what the future looks like. It’s about showing up for the weird present we’ve already got—even if the gears grind, the circuits smoke, and the timeline refuses to cooperate. 

Because no one needs body snatchers—thank you, Jack Finney—or android replicas of Philip K. Dick. Be yourself. Live in the moment. Don’t be a pansy. 

So, what will my life be like in three years? 

Hopefully still under construction. Hopefully still mine. 

And if the time machine’s finally working by then… I’ll let you know. 


Daily writing prompt
What will your life be like in three years?

No Cheap Shit

The Lab’s gone quiet tonight. Just me, a dead desktop, and the taste of old regret. Turns out, every shortcut comes with a bill — and this time, I paid in time I can’t get back.

Daily writing prompt
What’s something you believe everyone should know.

NO CHEAP SHIT.
That’s my one rule in the Lab — the hill I’ll die on — and the one I just broke.

The glow of the screen paints my hands in soft blue light. LibreOffice hums open, and for a second it’s like stepping through time. The last time I used this suite, it was still called OpenOffice — back when nobody could afford Microsoft, and we were all running on hope and cracked CDs. I remember the word-processor wars: Lotus 1-2-3, WordPerfect, Microsoft Word. That was the golden age of making do, when half the job was convincing old machines not to die mid-save.

I’ve been thinking about all that because today I pulled a machine out of rotation. She’s sitting on the shelf now, waiting to be stripped for parts — fans still warm, power light still pulsing like a heartbeat. She’s only a few years old, but she never earned her keep. Truth is, I knew better the day I bought her.

I broke my own rule.

See, when it comes to my Lab, I don’t buy cheap — I buy right. I wait. I build machines meant to last longer than the mood I’m in. Every four or five years, I rebuild. Every eight, I start from scratch. Even the retired ones still hum like old blues records — tired but proud. One of my boys calls dibs early every cycle. Says, “Your shit be like new.”

But this one? I knew she was weak from the start. My editor warned me, and I said the four dumbest words in my vocabulary: “It’ll get me by.” She sighed — that kind of sigh that comes from knowing a man who refuses to learn the easy way. My late wife used to give me the same look.

She’d drag me through electronics aisles, make me put back laptops like they were bad decisions with price tags. “You don’t buy tools,” she’d say. “You buy time.” And she was right.

Cutting corners never saves you anything — not in money, not in effort, not in peace. It just delays the reckoning.

That off-the-rack desktop was only the second prebuilt I’d owned in forty years. First night I had it, I was already cussing under my breath. Adobe CC lagged, the fan howled, and I called tech support just to have someone to blame. Yeah — I was that guy.

Now here I am, working on a ten-year-old laptop running Linux, and she’s humming like a jazz trio at midnight. Ten years old and still moving smooth because I built her right, upgraded her right, respected her limits. Forty-eight hours into a fresh burn-in and not a single stutter.

So here’s what I believe everyone should know: don’t cut corners.
Not on your machines. Not on your craft. Not on your life.

The easy route always comes back around to collect its fee.
Because the hardest thing you’ll ever have to do in life — is the right thing.
And doing the right thing almost always takes longer, costs more, and hurts like hell in the moment.

But it lasts.

Nothing worth a damn comes easy.

Buy the right tools. Take the time to build things that endure.
Because when you cheat the process, you’re not saving time — you’re stealing it from your future self.

And time’s the only thing the Lab can’t rebuild.

Guppy, Mojo, and Does Anybody Have a Cigarette?

(Memoirs of Madness — Return Post)

When my system went down, it seemed like divine intervention—a forced pause. I took the chance to stop fighting the noise and reset my creative energy.

I sat there for a minute, half expecting the room to fill with people saying, “We’re here because we love and care about you. We’re worried. You don’t seem okay.”
Instead, it was just me—and Guppy, staring like she’d seen this movie before.
I muttered my customary “Kick Rocks,” and she gave me that look:
“What’s going on with you, human? Pet me. Feed me. Clean my poop.”

Fair enough.

And because the universe clearly thought I needed a little more chaos, I decided to quit smoking. Yep, that was a moment of brilliance right there, buddy.
I can’t remember the last time I built a machine, wrote a line, or rewired a circuit without a cigarette hanging from my lips or burning down in the ashtray. The old routine: light another while one’s already smoldering, forget which is which, call it inspiration.
Now I’m in the cut back phase. Pray for me, light a candle, or call a hoodoo man to lay down some mojo—I can use all the help I can get.

Somewhere in the middle of all that nicotine withdrawal and digital resurrection, I pulled up the storyboard and looked at the mess. Dozens of storylines—some finished, most not. I decided it was time to clean house.
So I’m finishing what I started. Focusing on the long fiction threads and promising myself that from here on, quality comes first. The foundation’s solid, but there’s still plenty of building to do.

You’ve all been patient, loyal, and willing to walk through my corridors of madness while I rebuild piece by piece. You deserve the best I’ve got—and that’s exactly what’s coming.

I suppose I should be pulling my hair out… wait, I’m bald—so I’m good.

By Its Light

We learn to live with death the same way we read by firelight—slowly, painfully, beautifully.


No one prepares you for the feeling of loving something that Death has touched.

I sit here looking around his cabin—now mine. The air smells of pine sap, old smoke, and the faint tang of whiskey soaked into the floorboards. Dust floats through the thin light that leaks between the curtains. Each corner is stacked with books—subjects as varied as anatomy and jazz theory. A shelf of vinyl lines the far wall: Coltrane, Bessie Smith, Robert Johnson. Then, tucked behind them, a few heavy metal records—Sabbath, Maiden, Priest. My father, it seems, was a closet metalhead. I smile at that. Maybe I inherited more from him than just a pulse: the music, the books, the need to understand the noise inside.

Warmth slides down my cheeks before I realize I’m crying. The tears catch the scent of dust and woodsmoke, grounding me. I never knew him growing up. He and my mother had a moment in their teens—one of those sparks people mistake for destiny before life smothers it with reason. She was in law school; he was home on leave from the Army. They met at a party through a mutual friend, made promises under a drunk moon, and a week later, he shipped out. Nine months later—technically ten, if you’re counting the way we do in obstetrics—I arrived.

I became a doctor partly to make sense of what my mother wouldn’t talk about: biology, infection, the way life insists on being messy no matter how sterile you keep your hands. That’s where I met my father—though I didn’t know it then.

He came into the ER after an accident. I was covering trauma, running late for my weekly lunch with Mom. She’s a federal judge now, but every Thursday we make time—just an hour to remember we’re still mother and daughter, not just professionals orbiting duty.

When I finally reached the ER, Mom was already there. She’d come looking for me, irritation etched into her face. But as I began to explain, she froze. Her gaze fixed on the patient lying in bed—multiple fractures, head laceration, vitals unstable but holding. The antiseptic smell and hum of monitors felt suddenly foreign, like I’d stepped out of my own body.

“Mom?” I asked.

She stepped closer to the bed. Her hand rose to her mouth, and for the first time in my life, I saw her cry. Real tears—silent, unstoppable. She reached out, caressed the man’s forehead, her fingers trembling like someone touching a ghost.

“Mom, what’s going on? Do you know him?”

She didn’t answer. Just kept tracing the lines of his face, as if memory might come alive under her touch.

“Mom!”

Finally, she turned toward me, her voice steady but low.
“He’s your father.”

Then she pulled a chair to his bedside, sat down, and called her clerk to clear her docket.


My chest tightened. My legs went weak. I recognized the physiology even as it overtook me—tachycardia, dizziness, shallow breath. I nearly hit the floor before someone caught me.
Carol—my charge nurse, my right hand for ten years. A skinny little thing, but deceptively strong.

We weren’t just colleagues. We were friends.

“Sue, what’s going on?” she asked, her voice sharp with command. I heard her barking orders, but the words blurred into static. The next thing I knew, I was staring at a white ceiling, the steady beep of a monitor tracing the edge of my humiliation.

I tried to sit up—irritated beyond measure—but Carol pushed me back down with one hand. For such a small woman, she was a brick wall.

“Pilates?” I asked, breathless, trying to find my bearings.

She grinned, pouring me a cup of water. “The Judge filled me in. Your dad’s a hottie, by the way. Banged up and all.”

I snorted. Of course, she’d say something like that. That was Carol—always trying to make me laugh when she knew I was about to unravel. The water tasted metallic from the cup, cold against the desert of my throat.

She stood beside me, one hand resting over mine, thumb tracing small circles like she was smoothing out the tremors beneath my skin. Neither of us spoke for a while. The monitors filled the silence. Somewhere down the hall, a code was called, and the world kept spinning as if mine hadn’t just tilted off its axis.


After a few minutes, I was steady enough to stand. Carol and I walked back to my father’s room. The corridor smelled faintly of disinfectant and rain-soaked concrete from the ambulance bay. Mom sat beside his bed, holding his hand. The look on her face—devastation mixed with fierce worry—nearly broke me. When she saw me, she stood and came toward me, wrapping me in a soft and trembling hug.

“You okay? I know it’s a lot,” she said.

“It must’ve been one hell of a week,” I quipped.

To my surprise, she roared with laughter—real, unrestrained laughter. I didn’t think it was funny, but she lost it in the middle of the ER.

“It was, actually,” she said, still smiling. “We made you.”

Her eyes drifted off somewhere far beyond the fluorescent lights. It’s strange how memory works—how it lets you step back in time, not just to see it, but to feel it, every heartbeat replaying as if the past were still happening right now.


I had two years with him. Two years I’ll never trade for anything. I’d never seen my mother happier. Watching them together, I understood their brief story hadn’t been some teenage fling—it was a spark that waited decades to breathe again. For a while, it felt like the world had given us a second chance.

Then the disease came, and everything changed.
Nothing was ever the same after that.


So far, the disease had cropped up in five different towns, ravaging everyone and everything in its wake. My father was one of them.

I begged my mother to leave the area, but her stubborn ass wouldn’t budge.

“I won’t hear of it! Nothing’s running me from my home,” she snapped.

I couldn’t believe people actually said that kind of thing outside of old movies. I figured it was one of those lines characters use when they’ve already decided they’re not going anywhere.

Then she gave me that look—sharp, deliberate—and sighed.
“Okay,” she said finally, downing her afternoon scotch. “When are we leaving?”

“I have patients, Mom,” I replied.

She smirked faintly, that judge’s confidence slipping through the exhaustion. “So do I, honey. Mine just happen to sit in courtrooms instead of hospital beds.”

“We just lost Albie to this shit. I won’t risk you as well,” she said.

That stopped me cold. Mom never swore. That was Dad’s thing. Hearing it from her snapped something loose inside me. I looked at her, really looked, and saw the fear beneath all that steel.

We stood there in silence, and in that silence we understood what needed to be done. If it was going to end, let it end like this—on our feet, fighting.

“Sue, honey, you die with your boots on,” my father had told me when he first started showing symptoms. He’d been delivering meds to the infected zones, refusing to stay home. I begged him to stop, but a daughter’s love isn’t enough to turn a man away from his calling.

I wish it were.


Back at the cabin, the world felt smaller, quieter. The disease had moved on, taking what it wanted and leaving the rest of us to sort through the ruins.

I sat in Dad’s old rocker, which creaked like it still remembered his rhythm. The fire popped softly in the hearth, smoke curling through the faint scent of pine and old varnish. A book lay on the end table—Judas, My Brother. Of course. Trust Dad to pick something that questioned everything. I turned it over, thumbed through the pages soft from use, and slipped on his glasses. The prescription was surprisingly close to mine. The world blurred for a heartbeat, then settled into focus—clearer, heavier.

Mom had built the fire and sat on the couch with her usual scotch, watching the flames without speaking. The glass glinted amber in her hand. She didn’t have to say anything. The silence between us said everything—loss, endurance, maybe even grace.

I read a few lines, hearing his voice in the space between words. Then I closed the book, leaned back in his chair, and let the rocker creak like it was breathing for him.

No one prepares you for the feeling of loving something that Death has touched.
But you learn.
You learn to read by its light.


Author’s Note:
Inspired by Fandango’s Story Starter #223.
Thank you, Fandango, for the spark — this one burned quietly but deep.

When the Room Goes Quiet

“Fear doesn’t always mean run. Sometimes it means you’ve finally cornered the truth.”


Let’s start with an admission: I’ve never liked the sound of my own voice.
Not the way it cracks when I speak too quickly, or how it forgets itself halfway through a thought. Writing has always been safer — the words obey there. They arrive dressed and deliberate. Out loud, they stumble.

Before I speak, my body stages a small rebellion. My pulse climbs. My jaw tightens. The air feels heavy, as if the room is waiting to see what kind of fraud I’ll turn out to be. That’s what fear does — it turns attention into judgment, curiosity into threat. Only when I’m speaking about my writing does this happen — as if some inner voice hisses, “How dare you think your work is worthy of commentary?”

Yet outside the creative world, I’ve never hesitated to speak. Giving orders? No problem. I did it unapologetically. If someone broke down or got their feelings hurt, my answer was simple: “It’s not my fault your parents raised you to be a pansy.” Was that wrong? Of course. But it was effective — more often than not. That’s why the transition to civilian life hit me like a slow collapse. You can’t bark your way through vulnerability. You can’t command creativity. It doesn’t answer to rank.

But it isn’t really the audience I fear. It’s exposure.
Writing lets me curate my confessions, polish the edges, make the mess beautiful. Speaking strips that away. It demands the raw version — the one that still shakes. And people are strange — sometimes cruel. Some need to be publicly flogged for how they treat others. I laugh when life gives them a taste of their own medicine. Not because two wrongs make a right — they don’t — but because it’s human to feel that flicker of satisfaction when justice shows up wearing irony’s grin. What always gets me, though, is how quickly the guilty feign ignorance. “I’ve done nothing,” they say. Or worse, “All I did was…” as if cruelty came with a receipt and a refund policy.

Sometimes I wonder if the page has made me soft. Soft in that pansy way I used to mock. Where are the tissues? Did you just hand me the cheap stuff? Man, you better give me the Puffs if we’re gonna do this right.
Thank you.
Where was I?
Right — softness. I can write about grief, about love, about the parts of me that never healed. It’s almost easy to do so from the shadows, where no one sees your face or knows your name. A brave soul or a coward? Maybe both.

What do I look like without my mask? Will it fall away, or do I have to peel it off piece by piece? It’s okay to be frightened by what you see. It’s okay to scream aloud as you stare at the stranger in front of you — until you realize it isn’t a stranger at all.
It’s you.
And that’s the moment the voice in your head mutters, “The shit just got real. Damn it, man.”

Could I say these things out loud without flinching? Could I bear the sound of my truth without a backspace key to hide behind?

Maybe that’s what this season of my life is about — learning to live without the safety of revision. To understand that fear, pain, and uncertainty aren’t evidence of weakness, but proof that I’m alive — proof that I matter. The pounding of my heart, the sweat along my brow, the tingling at my edges — they’re all part of it. Then somewhere amidst all of this, I clear the mechanism. Serenity appears. It doesn’t replace the fear, pain, or uncertainty; it listens to them. They have a conversation while I exhale.

I don’t know if I’ll ever love the microphone. But I’m starting to think the page and the stage aren’t enemies. They’re just two mirrors — one for the voice, one for the soul — and I’m standing between them, trying to recognize my own reflection.


Reflective Prompt

What would your truth sound like if you stopped editing it mid-sentence?
Say it out loud — even if your voice shakes.


Author’s Note

Sometimes honesty is a fistfight between who we were and who we’re trying to be. This one left a few bruises — the good kind.
Now, if anyone knows where I left the ice packs… or hell, even a bag of frozen peas — I’m open to suggestions.
Where’s the love, people? Where’s the love?

Tell Yourself Whatever You Need To

Most people think I’m loud — the kind of person who fills a room just by showing up. The one cracking jokes, telling stories, holding court like I was born to. I let them believe it. It keeps things easier, smoother. But truthfully, I’m an introvert in disguise — a quiet man who learned that silence makes people nervous.

I’ve actually heard folks say they were scared of me when I didn’t talk. Something about my face, maybe — the way it rests heavy, unreadable, like I’m thinking too much or judging too hard. I guess that’s my curse: I look like trouble when I’m just tired.

So I talk. Even when I don’t want to. Even when the words feel like sand in my mouth. I talk to make other people comfortable, to smooth over the awkwardness that silence seems to bring. I know that probably sounds weak, but it helps things along. It makes the day move easier. And sometimes, pretending to be the loud one is less exhausting than explaining why I’m quiet.

When I worked in offices, coworkers would say things like, “Are you judging me?” or “You’re judging me right now, aren’t you?” or “You look like you’re about to call me a name.” I’d laugh it off, but inside, I wasn’t judging anyone. I was probably thinking about a story idea, or how lunch wasn’t sitting right, or why the hell the printer only jammed when I used it. But try explaining that without sounding like a weirdo. It’s easier just to say something funny, make them laugh, keep the peace.

Even my ex used to tell me, “Let me know before you go dark.” She meant the quiet spells — those stretches when I’d retreat into my head, writing or reading or just not talking. To her, silence felt like absence, like a door closed without warning. But for me, it was never about her. It was how I reset. I don’t disappear out of anger; I disappear to breathe. But try convincing someone of that when they’ve been taught that noise means love.

The truth is, I can go days without saying a word and feel completely fine. The quiet doesn’t scare me — it steadies me. It’s where I make sense of things. Where I untangle the noise I swallowed all week. My desk becomes a refuge. A book, a pen, and a cup of cooling coffee are enough to rebuild the parts I’ve spent too long bending out of shape for other people’s peace.

But silence has its own cost. You start to wonder if anyone ever really knew you beneath the performance. If they’d still come around if you stopped making it easy for them. If they’d sit in the quiet long enough to realize you’re not angry — just tired of having to explain your existence.

So yeah, I’m loud. But not because I love attention. I’m loud because silence unsettles people, and I’ve spent too many years trying not to be someone’s reason for discomfort. Maybe that’s my weakness. Or maybe it’s another kind of grace — learning to speak, even when the world hasn’t earned your voice.

Before I go dark.

Daily writing prompt
What’s something most people don’t know about you?

When Nobody’s Watching

On the kind of truth that doesn’t need an audience.


I’ve always felt that people who do things “as a matter of principle” are full of it. Too often, they cling to their moral code like a lifeboat, even when the water’s shallow enough to stand. I don’t think most of them mean harm — they just get caught up in being right, afraid to face the possibility that they might be wrong. It’s human nature. We mistake conviction for truth because it’s easier than questioning ourselves.

The older I’ve gotten, the more I’ve realized that all our so-called principles are built on experience — the good, the bad, and the ones that broke us open. What we value changes. What once mattered deeply starts to fade. Acceptance doesn’t come easy; denial usually wins the first few rounds.

Over time, I stopped pretending I needed a long list of virtues to define me. I stripped it down to what felt real — two principles that anchor everything else: honesty and integrity.

Honesty keeps me from lying to myself, especially when self-deception would be easier.
Integrity keeps me from betraying who I say I am, even when it costs me something to stay true.

Everything else — compassion, respect, perseverance — grows from those two. I’ve found that when I hold to them, I don’t need much else. It’s simple, but it’s not easy.

I recall people talking about staying up with the times — as if evolution meant trading in your soul for a newer model. But some things shouldn’t change. Things like being true to yourself and paying attention to what actually matters — the choices, the people, and the moments that leave fingerprints on the rest of your life, whether you notice them or not.

I still hear my Madre’s voice when I start to drift:

“You know the difference between right and wrong. No one has to teach you. But I will remind you from time to time.”

That line stuck with me. Maybe because she was right — deep down, we all know. Life just tries to talk us out of it.

Some people call it character, others call it discipline. I just call it doing what’s right when nobody’s watching. The kind of thing you don’t brag about, because if you have to, it probably doesn’t count.

Daily writing prompt
What principles define how you live?

Ghosts, Deadlines, and the Cool Monitor

Somewhere between the ghosts that won’t shut up and the deadlines that never arrive, I learned the trick — just keep writing anyway.


In 2023, my writing team accused me of procrastinating. I was offended — we’d built blogs, workshops, entire worlds together. How could they think I wasn’t doing enough? Then my senior editor cornered me one afternoon. It wasn’t a talk so much as a scolding — the kind that makes you feel like a kid again, thumb hovering near your mouth, waiting for the cue to say, “I’m sorry. I’ll never do it again.”

She wasn’t wrong, though. She asked a single question I couldn’t answer:
“Why haven’t you finished your novels?”

I had no answer then, and I still don’t. I’ve told myself plenty of stories — excuses dressed up as reasons — but none with any iron in them. They clang hollow, like empty promises we whisper to ourselves when doubt starts pacing the floor.

Since my reemergence, I’ve kept writing. Slowly. Unevenly. Each sentence feels like a step back toward the part of me that once trusted the words. My editor’s been kinder lately — maybe because I’ve stopped hiding behind excuses, or maybe because Ursula, my muse, stopped sulking now that she’s getting her pages again.

But somewhere along the way, I forgot how to do it. I can’t recall the moment it happened — it slipped away in the night, like a silent rogue with perfect aim. Maybe I was its willing victim. Not the kind that dies, but the kind that lives haunted by the absence of what was taken.

You’d think that once you recognize what you’ve lost, it would be easy to reclaim. But it isn’t. It’s like I hid it in some special place — the one where I put all the things I swore I’d never lose. Now I stand at the door, staring into that room, unable to remember where I left it.

So I wait. I search the corners. I listen for echoes of the writer who once trusted the words to come. With patience, I know I’ll find what’s hidden — the secrets, the treasures, the grace buried under dust and doubt.

Believing in myself is the key. The rest is just remembering how to turn it.

By 2025, the ghosts have quieted. I’m no longer haunted by my demons — I think they took a cruise or something. But their cousins pop in from time to time, usually uninvited, always loud, never staying long. I let them talk. Then I get back to writing.

Still, despite the progress I’ve made, there’s something holding me back — something keeping me from reaching that place where I can be completely at ease with who I am as a creator. I don’t want to cross to the other side of the veil wondering if I could have been more.

Of course, there will always be unfinished work when we cross over. That’s the nature of it. But I don’t want to be one of those guys replaying fragments of what I could have been.

So this year, I’ve started making moves to change that — to turn my writing and art into something more than what sits quietly on my hard drive. I’ve focused on quality rather than quantity, and I’m learning, finally, to get out of my own way.

You know how embarrassing it is to trip over your own feet? Talk about losing cool points. The Cool Monitor’s in the corner, shaking his head and deducting them one by one.

But this time, at least, I’m still walking forward.

Maybe the real work was never about finishing — just refusing to stop.

I’ve made peace with the ghosts in my process. They’re lousy tenants — leave coffee rings, mutter bad advice, rearrange my ideas when I’m not looking. But I’ve learned to write through their noise. Some days, that’s what it means to be an artist: to keep typing while the past heckles from the cheap seats.

I’ve spent years chasing the version of myself I thought I was supposed to be — the novelist, the mentor, the unshakable voice. Turns out, I don’t need to become him again. I just need to keep showing up — pen in hand, imagination slightly bruised, heart still willing.

Once I realized that, I’ve written some of the most powerful stuff in years.


Reflective Prompt

Take a moment. Unplug from the artificial ether and tap into the one we were born with — the raw signal beneath the static. Acknowledge the things you wanted to do, the things you left hanging, the things you can still do. What are they?

Don’t dress them up as goals or resolutions. Just name them. Whisper them back into existence. Some will sting. Some will make you laugh at how small or strange they seem now. But all of them are proof that you’re still reaching — still alive enough to want.

Maybe that’s the real work of this life: learning to live with the unfinished, to walk beside the ghosts of what we almost became, and still make something worth remembering.

Daily writing prompt
What have you been putting off doing? Why?

One Size Fits Nobody 

When I was young, we didn’t know anything about bipolar, ADHD, or OCD. For most of the kids who looked like me, we were troublemakers. Lazy. Not living up to our “potential.” And my personal favorite — “at risk.” 

I saw things that still twist my stomach. Families locking their special-needs kids away like shame in human form. Others giving children up for adoption because they saw difference as a “defect.” I didn’t understand it then, but I also didn’t question it. I figured it wasn’t my business. That was my own brand of ignorance — youthful stupidity with a good dose of asswipe. Luckily, I got my head out of my ass before it became permanent. 

I watched people claw their way toward acceptance, thinking if they could just fit in, life might hurt less. It didn’t. I saw cruelty take every shape imaginable. And one night, I watched one of the kindest people I’d ever met get invited to a “party” by the popular crowd. What happened there was wrong on every level — a setup disguised as an invitation. People laughed. Some stood frozen, watching. Nobody stopped it. That was the night I decided I wouldn’t stand by again. I made it my mission to fight for the ones who couldn’t. Easier said than done, but it was a start. 

Thing was, I knew what it felt like to be made to feel less than. My athletic ability was my equalizer — my way to earn space. But it was a fragile kind of belonging. I thought if I could hit harder, run faster, fight better, I’d earn respect. 

Turns out, asswipes are going to be asswipes no matter how many beatings you hand out. 

Being a nerd and a geek didn’t help either — things I embrace now but used to hide. Being Black in America wasn’t easy, but even that didn’t compare to the way people treated those with mental or learning conditions. Hate, I learned, is colorblind and endlessly creative. 

We love to talk about how diversity makes America great. Sometimes I think diversity only exists on posters and TV slogans. 

Then it hit home. My family. I wasn’t ready, but I wasn’t scared. I just had to face a truth I didn’t want to admit: I had some buried prejudice of my own. Stuff I didn’t even know was there. And if I wanted to keep my family whole, I had to deal with it. Over time, I did. 

Then came my own diagnosis. PTSD. That’s when I found even more latent bullshit buried under the macho armor — the “last American badass” act. Mental illness didn’t exist for men like me. Especially not for Black men, because we’re supposed to be ridiculously strong. But let’s be honest — that toxic script applies to men everywhere. Be strong. Don’t cry. Fix it or bury it. It’s a lie that kills quietly. 

The stigma runs deep — not just in the streets, but in the system. I asked a therapist once about ADHD and OCD, wondering if some of my symptoms overlapped. She waved it off: “Once you resolve your PTSD, you’ll be back to normal.” 

Back to normal. As if “normal” were a bus stop I could just catch on the next route. 

That’s the problem. Too many mental health professionals treat PTSD like it’s a virus. “Bend over, quick poke, might sting a little.” Hell, if it were that simple, I’d have rolled up my sleeve years ago. 

But it’s not. None of it is. Every mind is different. What wrecks me might roll right off you. What medication lifts you up might level me. But they don’t listen. They pull out the checklist, ask the same robotic questions, tick the same boxes, and call it “care.” 

It’s one-size-fits-all medicine — and that bullshit didn’t work for clothing, so why the hell do they think it’ll work for the mind? 

When I hit full-blown crisis mode, I was lucky. I got an intern who actually gave a damn. She helped me start living with PTSD instead of suffering from it. She listened. She paid attention. She saw the person, not the file. 

My psychiatrist? Worthless. I called him my dope man to his face. He corrected me — gave me his title like I was some illiterate twit. I told him I didn’t give a damn what his title was; he was still my dope man, and the least he could do was give me some good shit. 

Instead, I got the cheap stuff — the kind that made me feel disrespected, doped, and disposable. 

But I’ve been lucky since then. I have a care team now that actually seems to give a damn about me as a person — not just a walking diagnosis. I don’t know exactly how that happened, but I’ve got a small inkling. See, there were a few medical professionals who became casualties of my unfiltered disdain for incompetence. I didn’t hold back. Maybe that left a trail — maybe word got around that I wasn’t someone to bullshit. Whatever it was, I finally ended up with people who listen. Who treat me like a human being instead of a puzzle to solve. 

Medication isn’t the solution. It never has been. It’s the work of the individual — the daily grind of facing the mirror and doing the damn work — that brings real results. I’ve worked with soldiers and civilians who carry the same ghosts, and the truth doesn’t change. The treatment only works when you treat the person. They’re not data points. They’re people. Treat them as such. 

We are people. We deserve to be treated fairly. Not pitied. Not managed. Not turned into a statistic on a spreadsheet. We deserve the love and fairness that every living soul on this planet is owed. 

If you want to help someone, start by listening. Don’t tell them what they need — ask them. Sure, you might know a few things, but don’t force it. Offer choices. Let them decide for themselves. Nobody likes being told what to do. And the ones who say they don’t mind? They’re lying. 

Healing isn’t a factory line. It’s messy, human, and different for everyone. What calms one person might break another. What saves you might drown me. 

There was a saying back in the day, before online dating. We used to say, “You got a sister or a friend?” — a way of saying, you’re good people, got anyone else like you? 

That’s how I feel about good mental health professionals. When you find one who actually listens — who sees you as a person, not a case number — all you can think is: You got a sister or a friend? 

But in my experience, most of these so-called mental health professionals don’t act like that. 

Two words for you: 

Uncultured Swine. 

(It’s still a compliment.) 

Author’s Note: 

This piece is about stigma — the kind that hides behind silence, systems, and credentials. It’s about learning that real strength doesn’t come from toughness or treatment plans. It comes from listening — to yourself, to others, to the pain no one wants to name. Because healing, like humanity, never fits into a box. 

Daily writing prompt
What’s a topic or issue about which you’ve changed your mind?

Well… You Know 

What it means to be labeled, to mock, and to finally understand. 

There’s something about that question — “Tell us about a time when you felt out of place” — that stirs up more than I want to admit. For someone like me, admitting fear or discomfort has always felt like breaking an unspoken code. Society still treats fear like a weakness, and men especially are taught to hide it behind our egos. I’d love to say I’ve outgrown that, that my ego doesn’t run the show anymore. Truth is, I’d be full of shit if I said that. Ego still tugs at my decisions, but I do my best to keep it in check. 

I remember when I was first diagnosed with PTSD. I wasn’t ashamed of it—I told friends and family outright, thinking honesty would bring support. I thought they’d rally, that they’d have my back in this new state of being. I was wrong. What I found instead was silence where I expected comfort, distance where I expected closeness. I heard whispers that weren’t really whispers, caught side-glances dressed up as concern, saw pity masquerading as care. The labels came quick: “Touched.” “Not right in the head.” And my personal favorite—“Well… you know.” 

Looking back, I can admit there were times I blew things out of proportion. PTSD has a way of magnifying shadows until they look like monsters. But there were other times when I was dead-on, seeing things that others couldn’t because they hadn’t lived through it. Learning techniques to live with PTSD—rather than just suffer under it—changed my perspective. 

I realized some of the fears I carried were invisible to others, because they’d never walked in that dark. And I also realized some of the fears they carried, the ones they thought were dire, looked small to me because I’d been through worse. That’s where the real challenge came in: not mocking them for what seemed trivial, not throwing back the same treatment they’d given me. That shit was hard. To pass up the chance to feed them the same poison they’d fed me? Damn near impossible. 

But I knew better. I knew what it was like to be on the receiving end of whispers, side-glances, and labels. Mocking them—even quietly, even under my breath—only made me worse. It made me just like them. And that realization? That was harder to swallow than the diagnosis itself. 

Before I retired, I spent the last few years working with people living with all kinds of mental conditions. What struck me wasn’t just the weight of their struggles, but how deeply they wanted to be “normal.” That desire ran so strong it could push them into choices that would shape, even haunt, the rest of their lives. 

I came to understand something: it’s one thing to know, intellectually, that it’s okay to be different. It’s another thing entirely to believe it in your bones. I saw people wrestle with that gap every day, and in their fight, I saw myself. Being out of place had taught me what it felt like to carry that longing, that shame, that desperate wish to blend in. And maybe that’s the only gift of being “othered” — the chance to understand someone else’s battle, even when they can’t put it into words. 

Perhaps, in some ways, this is what Memoirs of Madness is about. I didn’t start the blog with that purpose in mind, but maybe it has become a place to name the fears we all carry — the ones that make us feel out of place in our own lives. Or maybe it’s nothing of the kind. Maybe it’s just one man behind a keyboard, running his mouth. I’d like to believe it’s more than that. That in speaking my demons aloud, I give someone else permission to face theirs. That I remind them they’re not as alone as they think. 

Author’s Note: 
This piece grew from a prompt asking about a time I felt out of place. As always, I didn’t take the safe route. The question became an exploration of stigma, ego, and the long road toward compassion. If nothing else, I hope it reminds someone out there they aren’t as alone in their demons as they might believe. 

Daily writing prompt
Tell us about a time when you felt out of place.

The Details That Keep Me Here

Learning to Trade Control for Presence

Daily writing prompt
What details of your life could you pay more attention to?

Looking back, I see the shift clear as day. In 2023, I leaned hard on control—details, contingencies, the belief that if I just tightened the screws enough, nothing could come loose. By 2024, the screws had already rattled out, and I was staring down a kind of fragility I’d never known before.

One year, I was convincing myself discipline was enough. Next, I was joking about my “part-dragon phase” just to soften the gut-punch of realizing I’m flesh and blood like everyone else. What hasn’t changed is the truth at the center: the details I need to pay attention to aren’t the external ones. They’re internal—the quiet daily choices that keep me alive, standing, and present with the people who’d notice if I wasn’t.

That’s not the answer I wanted to give, but it’s the only one that matters.

For most of my life, I’ve been the kind of person who sweats the details. I suppose it grew out of fear—fear of making a mistake, fear of letting something slip. My default mode was to be squared away: backup plans layered on top of contingency plans, every angle covered, every risk accounted for. If you’d asked me back then what details I needed to pay more attention to, I would’ve shrugged and said, “None. I’ve got it handled.”

But then life came along with its own set of details I couldn’t spreadsheet or strong-arm my way through. Health issues hit, and with them came changes I didn’t ask for and didn’t want. At first, I fell into my usual pattern—pretend control, mask the cracks, mutter “fuck it” when the new limits pressed too hard. But weakness has a way of humbling you. For the first time, I wasn’t sure how things would turn out.

That’s when my circle—the family I chose—stepped in. They reminded me I wasn’t done fighting, even when my body said otherwise. I’m not used to relying on anyone, but I learned to lean when I had to. It turns out that those details matter just as much as the ones I used to obsess over.

So what do I need to pay more attention to? The unglamorous, invisible stuff: eating better, resting when I should, saying no before I collapse, listening to my people when they call me on my bullshit. All the little choices that keep me here, present, and alive.

It’s tempting to say I’m doing this just for myself, and on some level that’s true. But it isn’t lost on me that my brothers, my friends, my people—they want me around too. There’s nothing better than feeling that kind of love. And honestly, I’m getting too old to risk another beating, figurative or otherwise.

No Punk in Me

On anniversaries, admin work, and the grit to keep moving.

Daily writing prompt
What’s your #1 priority tomorrow?

The end of the month always brings a surge in paperwork. Spreadsheets, backend checks, the kind of admin work that keeps my websites standing upright instead of collapsing in a heap of missed updates and broken links. Usually, I keep pace. But this month — hell, these last two months — I’ve been dragging. Emotion takes its toll, and when it hits, it doesn’t just knock you down; it scrapes off your momentum.

And tomorrow isn’t just the end of the month. It’s the anniversary of my wife’s death — the moment that split my life into three acts: the life before, the life during, the life after. Some years, I handle it better. Some years, it feels like the wound was carved just yesterday. But I’ve learned forgetting isn’t the goal. The point is remembering fully. Letting myself feel the pain, the joy, the sorrow, all tangled together in the memories that built me.

Funny thing is, she’d probably put her foot up my backside for the way I’ve been living. Can’t say I’d blame her. I’d probably kick my own ass, too. I remember the man I was, and I see the man I’ve become. Some parts I’m proud of; other times, I just shake my head at the mess I’ve gotten myself into. Jackass comes to mind more often than I’d like to admit.

I catch myself wondering who I’d be if she hadn’t died. Better? Happier? Maybe just more ornery — that last one feels like a safe bet. (Truth is, the orneriness has been growing by the day, and I’ve made my peace with it.)

But here’s what I know: no matter what might have been, this is the life I’ve got. The work still waits. The words still demand to be written. The fight — for the things I believe in, for the things I’ve spent my life creating — hasn’t gone anywhere.

So yes, tomorrow there will be admin. There will be memories, some sharp enough to cut, others soft enough to cradle. There will be the temptation to run from the ache, to hide in distraction or numbness. But my mama didn’t raise no punk. I’ll remember. I’ll work. I’ll fight. And I’ll laugh at myself along the way, because wisdom without humor is just another burden.


Author’s Note:
Grief never leaves — it just changes costumes. Some days it appears as silence, some days as laughter, and some days as the sharp edge of memory. But I’ve learned to live with it, and sometimes even laugh at it. Tomorrow will hurt, but it’ll also remind me why I keep showing up for the work and the fight. That’s how I honor her and myself.

Keeping It Old School—One Repair at a Time

Daily writing prompt
What brands do you associate with?

When I was a kid, brands were a kind of social currency. Clothes weren’t just fabric; they were shorthand for who you were. Madre Khan didn’t have much, but she made sure I never went hungry or without a place to sleep. Back then, I thought the right label could hide the lean years. We lived through the “generic” craze—plain white packaging, bargain prices—and adults preached, “You pay for what you get. Quality costs.” It felt like gospel.

For years I carried those lessons forward. My loyalties were automatic: Dickies for everyday wear, Logitech for office gear, Apple for everything but my phone. I even joked about being a brand whore, because at least I knew why I liked what I liked. My stepmother once shook her head at how casually I spent, but I’d tell her I bought what I needed and rarely worried about price. Quality justified the tab.

Lately, the gospel rings hollow. The “solid” names I grew up trusting don’t always deliver. Prices climb, quality slips, and you can’t put a price on quality now sounds like something printed on the inside of a fortune cookie. More than once, a no-name hard drive or keyboard has outperformed the legacy brand at half the cost.

These days I notice another shift. I own plenty of off-brand gear that works just fine for what I need. Retirement changes the math: I don’t need professional-grade tools anymore, but the ones I have will serve until they die. I used to research only within the circle of names I trusted; now the field is so crowded you watch the distributor more than the logo. Even established vendors let quality control slide, which often leaves me repairing old equipment or building my own replacement. I don’t buy desks or bookshelves anymore—I build them. I’ve started refurbishing old furniture and appliances with lower-grade tools and find the process oddly satisfying.

Just today I paused mid-essay to repair an outdoor extension cord. A simple fix would’ve done the job, but I couldn’t resist the upgrade—added roughly twenty-five feet for good measure. It’s a small thing, but it says a lot: why settle for a patch when you can quietly rewrite the boundaries of your backyard? Somewhere, Madre Khan is smiling at the sight of me splicing wires with the same patient curiosity she once showed when I tore things apart for parts.

I still research before I buy, but loyalty no longer seals the deal. If a nameless drive stores my files without complaint, it wins. If a plain keyboard keeps up with my writing, I don’t care whose badge sits on the box. The brands I associate with now aren’t names—they’re the ones that keep their promises.

Maybe that’s the real lesson: value isn’t in the logo, it’s in the follow-through. Childhood taught me to chase quality. Adulthood taught me to measure it myself. These days my motto is simple—get the most bang for the buck and enjoy the build along the way.

Where’d I Go?

Daily writing prompt
Share a lesson you wish you had learned earlier in life.

Geez, where do I start? There’s a whole damn syllabus of lessons I should’ve heeded earlier. One of the few perks of aging—besides knowing which joints will protest the weather—is the slow burn of wisdom. The kind you don’t get from books or podcasts. It comes wrapped in mistakes and bad decisions, leaving scars you can trace with your fingertips when the night goes too quiet.

Most of us have no idea what we’re doing. We’re trained to react instead of pause, to sprint when the real answer demands a slow walk and a long think. That made me an oddball—the guy who couldn’t walk and chew bubblegum, as the saying goes. I used to think something was broken in me because I didn’t move like my friends. So I faked it. Tried on their swagger like an ill-fitting coat and wound up knee-deep in more trouble than any decent statute of limitations allows. No one forced my hand. Every bad turn was my choice.

Eventually I needed to look in the mirror and recognize the person staring back. One night I finally did and whispered, “Where’d I go?” Instead of facing the answer, I reached for alcohol. At first it felt like an experiment; by the time the haze lifted, I realized I wasn’t just drinking—I was binge drinking. Like every drug, it took over. I drank to be accepted, but the acceptance I craved wasn’t external. It was the quiet inner nod that says this is who you are, faults and all.

I wasn’t sure I could follow through—if I had the courage to become me. I’d stand in a room full of people and still feel lonely. Everything felt wrong, yet temptation stayed strong: keep hiding like everyone else, stay two-faced and plastic. I knew every effort to fake it was bound to fail. I hate being wrong and go to great pains to avoid it. But here’s the twist—I was completely wrong, and I’m more than okay with it. Alcohol was so woven into my life I once believed it helped me find my muse. Pure horseshit. Fifteen years ago, I put down the bottle and I’ve been writing my ass off ever since.

It’s okay to be yourself. Let your weirdo flag fly. If anyone tells you different, the only appropriate and dignified response is a proper, “Fuck off!” For me, I had to whisper, “Sorry, Mom.” She wanted me to stop cussing for Lent. I told her I wasn’t Catholic anymore, but she wasn’t buying that as an excuse for a foul mouth.

If I had to pick one lesson, it’d be this: it’s alright to be me.
Not the version patched together from other people’s expectations. Not the quiet kid pretending to enjoy chaos. Just me. Turns out the hardest permission to grant is your own.


Author’s Note

Never let a shitbird talk you into being something other than who you are. Of course you’re going to evolve—that’s the point of living—but growth isn’t the same as surrender. Don’t sand down your edges just to fit someone else’s blueprint. The right people will respect your crooked angles and the wrong ones will drift off when they realize you’re not bending.

Sobriety taught me this, but you don’t need a bottle to learn it. The pressure to perform is everywhere—family dinners, office politics, the endless scroll of curated lives. Remember: becoming isn’t about becoming acceptable; it’s about becoming unmistakably yourself.


Reflective Prompt

Think back to a moment when you felt the pressure to shrink, fake, or bend just to belong.

  • What did you trade away in that moment—time, voice, dignity, a dream?
  • If you looked in the mirror right now, what question would stare back at you?
  • What would granting yourself full permission—your own quiet yes—actually look like?

Write it down. No filters, no audience. Just you and the truth that refuses to stay hidden.

You Can’t Keep the Force Waiting

Daily writing prompt
How do you relax?

Relax? I’m not even sure I know what that word means. I can define it, sure. I can even toss it into a sentence with some authority, like I’ve got the concept nailed down. But when it comes to actually doing it—executing the mysterious act of “relaxing”—I draw a blank.

That’s not to say I haven’t had relaxing moments. I’ve had a few, here and there, like finding an unexpected pocket of calm wedged between chaos and obligation. But that’s different than inhabiting a true state of relaxation. If such a state exists, it must’ve slipped past me sometime after childhood and never bothered to circle back.

However, I do have the ability to press pause in my mind in small increments. It’s become quite usual over the years. For example, I didn’t write again and ended up watching a couple of sports movies that, for some reason, had strippers in them. Before you sit in judgment—I didn’t write the movies. Still, I caught myself thinking about adding elements like that into a story. Hmmm. I like that. Excuse me for a minute while I make some notes. Okay, I’m back. Where was I?

For me, it’s more like waiting for the noise to die down rather than learning how to step out of it. And maybe that’s the rub: real relaxation isn’t about moments—it’s about being able to stay in that state, to stretch it out until it holds you. I haven’t cracked that code. Maybe I don’t even want to.

Oh yeah, relaxing. Yeah, I got nothing. So excuse me while I check out the latest Star Wars trilogies. You just can’t keep the Force waiting.

Freshly Made, Just for You


Dispatches from the Splinters of My Mind

The Hippy Ice Cream Man – Entry VI

The gulls owned the rooftop. They had claimed it long before we arrived, staking their kingdom in feathers and shit, in the low, guttural croaks that echoed like laughter. Their wings tore at the sky when they rose, dragging it open, only to fold it back into silence when they landed again. From where we sat, the sea spread out in every direction, a pewter sheet without reflection, as though it had swallowed the sky whole and kept it hidden.

The castle wasn’t a ruin, not completely. The stones still held their shape, still resisted the erosion of wind and salt, but there was moss clawing at the edges of the turrets, lichen freckling the slate roof. A place caught between being kept alive and being abandoned—much like us, though neither of us wanted to say it out loud.

We sat against the cold wall, the slick tiles beneath us daring us to slip. My legs dangled freely into the air, careless. Hers stayed tucked close, knees pulled in, heels dug hard into the slate as though bracing against gravity itself. That was always the difference between us: I trusted the drop, she feared it. We hadn’t spoken in nearly an hour. Silence was easier, and for a while, we both pretended it was enough.

The gull on the chimney watched us. A single sentinel, yellow eyes sharp and patient, as though waiting to see which one of us would fall first.

When she finally spoke, her voice startled me.
“Why are you always trying to get me to eat ice cream from the hippy ice cream man?”

The words felt too light for this place, too absurd to belong among these stones. They scattered in my chest like startled birds.
“What?”

She smirked, though it didn’t reach her eyes. “You heard me. Every time we’re close to something—like this—” she gestured vaguely at the impossible balance of us on the rooftop, at the thin margin between sitting and falling, “—you start talking about him. That van, his cones, like it’s holy salvation or something.”

I wanted to deny it. Pretend she was imagining things. But the image of the truck rose instantly, absurdly: parked at the seawall below, pastel paint catching the last orange spill of sunlight—music tinkling, distorted and tinny. The words freshly made just for you ” were painted across the side like a promise no one believed. And that small golden rectangle of light from the serving window, glowing like a portal to somewhere better.

“Because,” I said slowly, “that’s the only place left where nothing is asked of you. You hand him a coin, and he gives you sweetness. No questions. No history. Just sugar. Just cold.”

She turned back toward the gull. It hadn’t moved. Neither had the crows on the far chimney, who leaned in as if listening. “You think that’s all I want? To be numbed?”

I didn’t answer. The air had thickened, and even the sea seemed to press closer.

Her voice cracked against the quiet. “Sometimes I think you’d rather eat someone else’s lies than deal with the truth of me.”

I swallowed. My throat was raw from silence. “Maybe. Maybe because the truth of you is heavier than this whole damn castle.”

The gull flapped its wings once, dislodging flecks of stone dust, then settled again. Watching and always watching.


We had been here before. Not this rooftop, not this particular edge of stone and slate, but here—in the place where one of us demanded something the other couldn’t give. It always ended the same: with me retreating into sweetness, her retreating into anger.

I remembered the first time I saw the van. Not here, but further down the coast, years ago. I was walking alone after midnight when I saw its colors under the sodium lamps, too bright for the hour, too hopeful. The man inside was still serving, though there was no one in line. He had his arms crossed, staring at nothing. His face was older than the paint job. I almost walked past, but he caught my eye and tilted his head, and I bought a cone out of guilt.

The first bite had been a revelation. Not because it was good—it wasn’t—but because it was simple. No hidden meanings. No debts. Just a mouthful of something cold that melted away before I could question it. I never forgot that feeling. I wanted it again. I wanted her to have it too.

But she wasn’t built for simplicity.


“You don’t see it, do you?” she said now, pulling her knees tighter. “That ice cream man, your savior, he’s just another ghost. Another liar in pastels. You think his sweetness is freedom, but he’s trapped just like us. Debt, sorrow, God knows what. You want me to believe in him because you’ve already decided you can’t believe in me.”

Her words landed harder than the wind.

I tried to picture the man’s face. His tired smile, the scars along his hands when he passed me the cone. She was right—he wasn’t free. None of us were. And yet, he had given me that moment of quiet, that small reprieve. Couldn’t that be enough?

“You’re probably right,” I said. “But at least his lie tastes better than ours.”

Her face twisted, something between grief and rage. “That’s the problem. You’ll settle for sweetness just because it doesn’t cut as deep. You’ll choose the hippy ice cream man over me every time.”

The gull lifted suddenly, wings beating, filling the air with a violence that wasn’t its own. The crows scattered from the far chimney, black streaks against the sea. For a moment, it felt like the whole rooftop would shake apart under their departure.

When the noise faded, she looked at me again, eyes shadowed, unreadable. “You don’t even realize it, do you? You’re already halfway down there, coin in hand.”

Her words hollowed me out.

I wanted to argue, wanted to tell her she was wrong. But the image rose again: the van humming with light below the seawall, music spilling like a broken memory, waiting for me to step down from these stones and pay the price for one more mouthful of sweetness.

The castle groaned in the wind. The slate shifted beneath us. The sea waited, patient and endless.


We didn’t climb down together.

By the time I finally left the rooftop, she was gone. Whether she had climbed down first or vanished into the stone, I couldn’t say. The gull had returned to the chimney, and it watched me with something like pity.

When I reached the seawall, the van was still there. Lights glowing, window open, music playing. The man inside didn’t speak as I handed him a coin. He just nodded, passed me the cone, and turned away.

The first bite was as cold as always. Sweetness dissolving before it could mean anything.

I stood there in the glow of the hippy ice cream man, alone, licking at something that was never going to save me.

And above, high on the castle rooftop, the gull croaked once more.


Author’s Note:
This story was inspired by Sadje’s What Do You See? #303. I took the provided image as a doorway into something more fractured and unresolved, letting the rooftop and the gulls become the stage for a conversation that had been waiting too long in silence. As always, these Dispatches are fragments—splinters of something larger I don’t pretend to fully understand. They aren’t answers, just echoes.

Convoys, Replicants, and a Lady Who Sings the Blues

Daily writing prompt
What are your top ten favorite movies?

When I was a kid, I wore out VHS tapes like other kids wore out sneakers. I’d rewind, replay, and rewind again until my mother finally snapped, “Lord, not this one again!” We laughed about it years later when my grandkids started doing the same thing — watching the same cartoon on loop until it could play without the TV being on. Obsession runs deep in this family.

Here are the ten films that got under my skin, refused to let go, and still pull me in every time I hit play.


Convoy (1978)

Kris Kristofferson, Ali MacGraw, and a convoy of truckers rolling across America, flipping the bird at authority with CB slang I barely understood.

I couldn’t tell you what hooked me harder — the radios, the semis, or the rebellion. I memorized lines, stomped around the house calling myself Rubber Duck, and believed a convoy of eighteen-wheelers could change the world. It’s not a cinema classic, but it speaks to the part of me that refuses to follow rules, even now.


A Piece of the Action (1977)

Sidney Poitier and Bill Cosby playing con men forced to do some good — crime with a conscience, swagger with a side of redemption.

I worshipped Poitier, and seeing him in a lighter role felt like catching your dad cracking a joke when you weren’t supposed to. Cosby was a bonus — I’d worn out Himself on cassette a thousand times, so seeing him on screen was like déjà vu with moving pictures. Add James Earl Jones’s voice booming through the mix and Denise Nicholas as Poitier’s love interest, and I was sold. I didn’t see the social commentary back then — I was too busy grinning. Now, I see it plain as day.


The Chinese Connection (Fist of Fury, 1972)

Bruce Lee tearing through colonial arrogance, fists and fury flying like scripture.

My friends split down the middle: you were either the Six Million Dollar Man or Bruce Lee. I chose Lee every time. We practiced the moves, clumsy imitations in the yard, convinced we were dangerous. Only a handful of us ever stepped foot in a dojo, but the code, the discipline, the honor — that film planted it in me. I still practice martial arts, decades later, because of Bruce.


Blade Runner (1982)

Neon rain, broken people, and machines chasing something like a soul.

I shouldn’t have even been there. Bought a ticket to the godawful Gymkata, slid into Blade Runner like a thief. My first R-rated film on the big screen, and I was gone the second Deckard lit his cigarette. This wasn’t a movie — it was a world. I force-fed it to my kids like vegetables disguised as candy. Years later, one of my daughters called me the week 2049 dropped: “Dad, you ready?” You’re damn right I was. Some obsessions don’t fade. They get inherited.


Excalibur (1981)

Fog, blood, betrayal, and the gleam of steel. John Boorman’s fever dream of Arthurian legend.

This was my first taste of King Arthur, and it sunk deep. I’ve hunted down every Arthurian film since, stacked books on the legends in my house. But it wasn’t the spectacle that stuck — it was the idea of honor, devotion, and duty. It shaped how I thought a man was supposed to be. For better or worse, that sword still gleams in my head.


The Outlaw Josey Wales (1976)

Clint Eastwood spitting tobacco juice and cutting his way through the wreckage of the Civil War.

This wasn’t just my favorite Western — it became mine and my wife’s. We’d sit glued to the TV, watching it over and over until the dialogue was part of our marriage. Because of her, I learned to love Westerns in general. And every time I watch one now, I smile at the memory of her beside me. Clint Eastwood was a badass, sure — but she made the movie matter more.


Cooley High (1975)

Friendship, heartbreak, betrayal — and a Motown soundtrack to drown in.

This wasn’t just a movie; it was my life in another time and place. The music, the teenage angst, the betrayals that cut deeper than any knife — all of it felt too close to home. Even though it was set in the ’60s, it mirrored the world around me. It became a staple in the Black community, right up there with Shaft. And it still hits today, just as hard.


FM (1978)

DJs fighting corporate suits with nothing but vinyl and attitude.

I found this one through my mother’s soundtrack, then realized there was a whole movie attached. For a kid glued to the radio, it felt like God had delivered it straight to my TV. My buddy and I even launched a pirate station we called Q-Sky Radio. He didn’t know where I got the name. I smiled and let him think it was his idea. That love of music never left, and I’d argue FM is part of why House of Tunage even exists today. This movie is my jam, then and now.


The Wanderers (1979)

Bronx gangs, doo-wop on the jukebox, swagger and fists flying at the edge of an era.

Everyone around me worshipped The Warriors — and I did too — but The Wanderers dug under my skin in a different way. Maybe it was the sense of a world dying, of everything you know mutating into something unfamiliar and scary. It taught me that you either shrink back or walk forward into the unknown. I chose forward. I’ve read the book five times at least, and it still hits differently than the film, but just as hard.


Lady Sings the Blues (1972)

Diana Ross as Billie Holiday, Billy Dee Williams smooth as glass, Richard Pryor burning in every scene.

My mom loved Diana Ross, so I sat through this film with her more times than I can count. I didn’t share her love for Ross, but Billie Holiday got her hooks in me. Later, I told that story to my wife, and she showed up with two CDs: Lady Sings Jazz and Blues by Diana Ross and a Billie Holiday collection. She knew me better than I knew myself sometimes. Man, I loved that woman.


Closing Reflection

These weren’t just movies. They were obsessions. They taught me about rebellion, loyalty, heartbreak, and survival before I even had the language for it. My mom teased me for playing them to death, but when I watch my grandchildren loop the same film until it frays, I can’t help but smile. The cycle continues. Different movies, same obsession. And maybe that’s what cinema really is — a mirror we pass down, cracked and glowing, frame by frame.

Waiting for the Next Bullet

Dispatches from the Splinters of My MindEntry IV


I’ve spent twenty-five years wandering the constellations of dust that pass for towns in these parts, chasing rumors of justice across salt flats and sun-stained mesas, my hand welded to the only gospel this world respects—cold iron, burnished to a black shine by blood and the desert’s endless hunger. Every dawn, I’d cinch a deadman’s resolve around my ribs and tell myself I was the steady hand in a world built on bad intentions, that each finger’s pressure on a trigger could tip the scales back toward something like decency. But time—time is a lizard’s tongue: flicking, unseen, snatching up the moments until you’re left staring at a husk, trying to remember how you ever filled it. Sooner or later, you see it for what it is: a young man’s dare delivered to the gods, a clumsy ballet of violence dressed up as virtue, death’s grand masquerade with your own face under the mask.

The desert kept its own ledger, written in wind and stone. Rivers shrank to scars, and every town I passed through felt like a graveyard waiting for names. Vultures taught me patience better than any preacher, circling in their slow sermons, never rushing what they knew was inevitable. Out here, the land didn’t just watch—it judged. Every canyon whispered back the sound of your gun, long after the body cooled.

Every soul I ushered into the hush had a name—sometimes carved on a tin badge, more often graven into the blue-black veins of the territory’s memory, where the ghosts stacked up like poker chips. I tried to keep them at a distance, let the desert swallow their last words before they could echo. But there is no distance in these plains, only the illusion of it. You run a man down at noon, the dust still wet with his shadow, and by sundown your own shadow’s right there beside his, stitched together over the dirt. I told myself numbness was a tool, a way to keep the tremor out of my hand, but numbness is a kind of debt, and the interest compounds in silence. I was too busy forging my legend—chiseled in the splinters of busted up saloons and the blue smoke curling from spent casings—to notice what I’d mortgaged away.

So now I’m the last dog in the fight, nothing left but a brittle skeleton propped against a fence post, watching the horizon try to out-bleed itself every evening, waiting for the sun to name one color I haven’t seen a man die in. I count the ghosts that trail me like some biblical plague, each one a mile marker on the road I can’t stop walking.

Just crawled out of a dime stretch—ten years locked inside iron and spit, with only the slow creep of rust and regret for company—but that’s pocket change compared to the ledger I keep in my head, a ledger no warden’s key will ever unlock. The past doesn’t loosen its grip; if anything, it tightens until you can’t tell your own pulse from the memory of someone else’s. Out here, they call me a legend, a walking parable, the old coyote that’s outlived every snare and bullet. But legends are just stories that haven’t had their endings written yet. The endings always come, and they are never kind.

Once, a boy no older than my own reflection at nineteen tried to catch me in the middle of a mud street. His hat was too big, his holster too stiff. I watched his lip tremble before his hand even twitched. And in that stutter of fear, I saw myself—hungry, stupid, convinced the world owed me immortality. I let him draw first, because mercy was a luxury neither of us could afford. When he fell, I felt no triumph, only recognition. The desert doesn’t make room for fathers, only mirrors.

There is a whole generation of greenhorns—some with badges, some with nothing but their mother’s borrowed last name—who’d sleep sweeter with my scalp nailed to their saddle horn. Each one wants to be the one to rewrite the myth: to show the world the old king had no teeth left, that even legends can bleed. What they don’t see is that the fire never really dies, it just settles into the bones. They walk up fast, hot with the promise of their own immortality, and they think the shaking in my hands is age, not anticipation.

Justice—my old, two-faced companion—watches from the back of every whiskey glass and midnight mirror. When I was young, he sat shotgun, fed me lies about glory and honor and the clean line between good men and bad. But that line was always drawn in sand, and every storm I weathered blurred it until no one remembered which side they started on. Now he hides behind the badge, jeering at me from the safety of his armchair, pretending he wasn’t the one who put the first pistol in my grip. Hypocrite. He wants to see me pay for my excesses, but he forgets: I always paid in advance.

When the night rolls over the land and the wind starts to howl like an orphaned child, the voices come crawling in from the edges. “Was it worth it?” they ask, breathless, persistent, soft as the moths in the old preacher’s study. Worth the empty chairs at dinner tables, the widows with nothing left but a wedding ring and a story? Worth the holes I punched in the world, the ones I never bothered to fill back in? I’ve no answer for them, and by now I doubt I’ll ever find one. Only this: the world is made of debts, and violence always knows where to send the bill.

These days, even my dreams betray me. No sweet lies, no gentle horizons—only the endless replay of gunfire, a carousel of faces turning toward me in their last astonishment. Sometimes I wonder if I’d even know what rest felt like, if peace ever did arrive. Maybe I’d flinch from it, the way a stray dog flinches from kindness.

Tonight, I can feel it: the ledger’s come due. The sky above is swept clean and hard as flint, the air stinking of cordite and things long dead. I lie here, spine pressed to the living earth, the stars blinking overhead like a jury summoned to pass sentence. My hand’s locked around the iron, the heat of the last shot still ghosting up through the barrel. Around me, the sand is pitted and blackened, marking the places where hope gave up and history picked up the slack.

This is what justice looks like, in the end: a man alone, weapon cooling, waiting for the world to decide if his next breath will matter. For a heartbeat, everything holds still. The air itself is an intake of judgment.

Will they let me die with my boots on? Will the dead finally cut me some slack and let me drift into whatever comes next? Or will the world keep chasing me, day after day, circle after circle, like a dog gnawing a bone it’ll never finish?

I laugh—a dry, cracking thing that feels like it might shatter my teeth. It’s the laugh of a child who’s seen the trick behind the magic, the snort that follows every preacher’s sermon. Life and death, justice and sin: all of it a rigged game, played out over and over until the deck wears thin.

I should be afraid. I should pray. But all I feel is the deep drag of exhaustion and, maybe, the faint warmth of something like relief.

But peace—peace’s for fools, for greenhorns and saints, not the likes of me. Not a man who emptied his promise to the desert and let it keep the change.

I close my eyes and try to shoulder the weight of every life I ever took, every mile I rode with justice whispering fever-dreams in my ear. Maybe there’s a way out. Maybe there isn’t.

Either way, I’ll keep my iron close and my eyes open. In this world, justice is just another word for a story that won’t end, and legends—they never really die.

They just get older, and a little sadder, and wait for the next bullet to teach them something new.

They just keep glancing over their shoulders, waiting for the next bullet.


Author’s Note

Another ride through the dust for Dispatches from the Splinters of My Mind. This one lives in the twilight—half confession, half reckoning—an old gunslinger’s ledger of debts that can never be balanced. The West here isn’t about glory or the last man standing; it’s about the silence that follows every shot, the weight of a myth too heavy to carry. Maybe you’ll hear echoes of your own shadows in his words, or maybe you’ll just taste the grit of the desert wind on your teeth. Either way, this dispatch isn’t about answers—it’s about what’s left when the smoke clears.

The Girl Who Carries a Forest

Dispatches from the Splinters of My Mind


Her name is Raquel, but my given name is Rachel. I first noticed her when I hit high school and the air around me started to hum with a voltage—lockers slamming, gossip sparking at the seams, hallways strung like power lines through a town that never slept. She didn’t arrive with voices. No whispers, no commands. Just a pressure at the edge of thought, a cool hand pressed to a fevered brow. She only shows up when I need her. I don’t hear her, but I know when she’s standing just to my left, looking out through my eyes.

The first time, it was October and every tree in the county had decided to bleed. The maples along the football field turned a red so violent the grass looked stunned. A rumor had gone around that I’d said something about a senior’s boyfriend—nothing true, nothing new—just a scrap of talk fed into the hungry mouth of a school day. By the last bell, I could feel the circle forming before I even walked outside. Girls with folded arms. Boys with bored eyes. The taste of pennies. The sky bruised itself purple.

I didn’t have a plan. I never did then. The thing I remember is the wind. It came hard across the parking lot and threaded itself through my hair, then deeper, as if there were a second set of hair inside my head—branches, fine as nerve endings. I felt them sway. And then I wasn’t exactly taller, but I was standing in a different way, like my weight knew how to root. Someone shoved me. The circle tightened. The world clicked into a cleaner focus, edges sharpened, sound pared down to necessary pieces: breath, footfall, a cheap bracelet pinging against bone. The part of me that panicked went quiet, like someone cupped both hands over its mouth and said shhh.

I walked forward. The girl in front of me took a step back without meaning to. I didn’t bare my teeth, make a fist, or say anything that would later be quoted. I just looked at her until she had to break eye contact. The circle sagged. Somewhere a whistle blew—practice starting on the field—and that was that. No heroics. No detention. I went home with the leaves still burning in my skull and the wind still combing through the trees inside me, and it was the first night I understood that Raquel was not a person I could point to. She was a stance. A recalibration. A forest that woke up when I needed cover.

The second time that year, a man in a green cap followed me from the grocery store to the bus stop. My hands shook so hard I almost dropped the bag. The sky was that color between storm and dusk that makes you doubt the honesty of streetlights. I tasted the same pennies. Then the shift: the quiet. The trees. Autumn exhaled, and the world tilted just a fraction. I turned my face toward him the way a deer turns toward the distant snap of a twig. Nothing about me changed. I changed anyway. He crossed the street at the next gap in traffic and kept going. Maybe I was never in danger. Maybe sometimes a girl doesn’t need to prove anything to make it true.

I learned to mark the moments Raquel left. It felt like stepping out of a lake—clothes heavy, hair dripping, adrenaline sickly-sweet on the tongue. I’d sit on my bed and stare at the blank corner of my room until I felt ordinary again. There are only so many times in a week you can be a wildfire before you start to worry about what you’re burning down.

Years run. You lose track. You collect jobs and dead houseplants and the soft weight of other people’s expectations. I left the county for a city that ate its old buildings and spat out condominiums with mouths like glass. I learned to be proficient in email communication. I learned to keep dinner reservations. I learned to carry myself in ways that didn’t invite questions from strangers. Raquel walked with me, a scent I couldn’t name, a second pulse nested under the first. Sometimes months would pass without her, and I’d convince myself I’d grown out of childhood’s private magic, the way you grow out of believing the closet door might need locking. Then something would happen—a hand a beat too slow to withdraw from my waist, a boss whose compliments were salt in fresh cuts—and the wind would turn. The maples inside me would flare hot.

It got worse the year my mother died. Grief scrubbed everything down to the metal. I returned home for a month to sort papers and sort the shape of the silence and to live in the small, gray house whose faucets coughed like old men. The town hadn’t changed much. The football field’s grass is still stunned by autumn. The grocery store is fluorescent and timeless. The bus stop on the corner remains a question that nobody has bothered to answer.

I slept in my childhood room and woke to find the dresser mirror breathing. My face was layered with hers—my mother at twenty, my mother at fifty, my mother already gone—each sliding across the glass like oil on water, never settling. Their eyes moved in different directions, watching corners of the room where nothing stirred. The smell of her perfume—vanilla and cigarette ash—hung in the air though the bottle had been dry for years. Behind them, and behind me, Raquel hovered: not protective, exactly, but like a shadow that had learned to look back.

On the third night of that month, I went walking. I told myself I needed air. The truth is I wanted to find the place where the world felt thin. There’s a cut of road on the edge of town that used to lead to the sawmill. Beyond the road, the forest keeps its own counsel, thick with pine and story and things that don’t bother learning your name. I walked that way, past the last of the porch lights, past the mailbox that always leaned as if listening. The sky had bruised itself again. I thought of purple knees and childhood grass stains that never quite washed out.

The forest welcomed without welcoming. I stepped into the trees and felt something inside me stand up straighter, as if the very matter of me remembered what it was built from. Needles underfoot. Damp earth. The faint iron of water nearby. The wind moved, and my hair followed; the branches inside my head swayed in time. For a second, the overlap made me dizzy—like looking at a double exposure until your eyes grab the wrong layer. I closed them and leaned against a trunk. The bark was rough enough to declare itself. My palms stung. I breathed.

This is the part where people want a miracle. They want a deer to step out onto the path with a crown of leaves tangled in its antlers. They want my mother’s voice to come through clean, radio static scoured away. They want the boundary to drop and the red of the maples to mean something more than a season doing what a season does. I can’t give them that. What happened is simpler. I heard footsteps, and they didn’t belong to me.

Not heavy. Not careless. A person who knew every twig that could break and chose the ones that wouldn’t. I didn’t open my eyes. I didn’t need to. The second pulse rose in me. The forest inside caught the rhythm and matched it, branches swaying in a pattern that wasn’t the wind. The footsteps stopped three paces to my left.

“Rachel,” a woman said.

Not my mother. Not anyone I could pull from a yearbook. The voice came the way cold water knows how to find your wrists. Calm. Unavoidable.

I opened my eyes. There was nobody there.

The thing about absence is how specific it is. The air where a body should have been was charged, as if a thunderhead had chosen human shape and then thought better of it. I turned my head slightly, and in the edge of my vision—caught the way you catch a reflection in a dark window—I saw her. My face doubled and slipped, features not quite aligning, hair like a spill of black water into the tree line. The second mouth set in a small, knowing line. My breath forgot to breathe. The forest inside me stilled to listen.

“Raquel,” I said, and the saying opened a door I hadn’t known was shut.

We stood there—one of us in the path, one of us in the glass of the world. We didn’t speak. If I tell you we communed, you’ll picture incense and soft lights, and I won’t have earned the truth. It was simpler and stranger. She lifted her chin. I felt mine tilt. She narrowed her eyes. I felt the muscles move. She took a breath, and the air entered me twice, filling two sets of lungs layered perfectly out of sync. It hurt in a good way, like stretching after you’ve been carrying other people’s weight all day.

Then the footsteps came again, from deeper in, and this time they were neither careful nor considerate. A man moving too fast to be lost, heading for the shortcut hunters take when they’re late and the light’s gone wrong. He broke a branch. He swore. He was close; he was not yet aware of me. The startled part of me wanted to step off the path, hide behind the particular tree my fifth-grade self knew was good for hiding. The other part—the forest part—just watched the space where he would appear.

Raquel’s hand rose. I didn’t see it. I felt it. A small tightening in the tendons of my right wrist, the way a violinist’s muscle memory wakes before the bow touches the string. When the man reached the curve, he looked up and saw—no, that’s not right. He didn’t see anything he could put a name to. He faltered the way people falter when an old superstition tugs the hem of their good sense. He glanced left. He saw the empty air where Raquel stood and his face went politely blank, as if someone had asked him a question in a language he almost understood. He took two cautious steps backward. He chose another path, the long one. He kept swearing, but softer now, as though he’d agreed to be a guest in a house he hadn’t realized he’d entered.

“Thank you,” I said, and immediately felt foolish for saying it aloud.

Raquel did not nod. She didn’t vanish. She shifted the way light shifts when a cloud decides to be merciful. I closed my eyes again and leaned my forehead against the bark and let the slant of the earth hold me up. Time went the way time went when you finally agreed to sit down. When I opened my eyes, the air was only air, and the double exposure had clicked back into a single frame. I was Rachel in a forest near a town that felt smaller than it used to. My palms remembered bark. My mouth remembered the taste of pennies and then didn’t.

On the walk home, the wind stayed with me. Houses appeared. Porch lights took their places like stars whose contracts had just been renewed. I tried to think of what I would tell anyone who asked why I’d gone out and what I’d found. The story kept refusing to shrink to fit. I passed the mailbox, still listening. I passed the bus stop, still questioning. By the time I reached the gray house, grief had turned from a violent guest to a tired one, the kind that finally stops talking because there’s nothing new to say. I let myself in. The faucet coughed. The floor knew where to creak. I was ordinary again, which is to say intact enough to sleep.

In the morning, I brewed coffee the way my mother did and burned the first slice of toast the way she always did and laughed, which surprised me so much I had to sit down. In the mirror, my face was my face.

But as I turned toward the door, something caught in the glass of the hallway mirror. Not just her—me, but smiling in a way I don’t remember. It’s a thin, private thing. My lips are still; hers move. She whispers without sound, and though I cannot hear the words, the marrow in my bones understands them well enough to ache.

When I’m ready to step outside, I do. The wind turns. The day opens like a field. And there, in the corner of my eye where the world keeps its most honest reflections, a second mouth makes a small, knowing line. We walked. We chose the long way. We let the light take its time deciding for us.


Author’s Note:
Second splinter, pulled straight from a place I didn’t mean to walk into. Some stories don’t ask permission—they just lean in and whisper something you can’t quite remember but still know in your bones. Dispatches from the Splinters of My Mind isn’t here to explain itself. It’s here to leave something sharp under your skin.

Above the Churn


“You funny little man.”

The words slid through my dream and cracked it in half. I came up out of the dark slow, like surfacing through tar. The TV in the next room kept spitting out canned laughter, each burst bleeding through the plaster like a bad memory you can’t scrub out.

I left breadcrumbs for them to find me. Hell, I practically lit the path in neon. So why the delay? They should’ve been here hours ago. Unless this is the variant where they let you stew first, make you sweat until you start negotiating with yourself. I’ve seen that play before.

I hope they come. No—I need them to. It’s the only thing holding the walls together. But hope’s a sucker’s bet. Optimism’s for pretty people and the kind of bastards who get served first in every bar. The rest of us? We know the rules. They get champagne. We get the backwash.

Paranoid? Maybe. But paranoia’s just the truth with the varnish stripped off. And here I am, sitting in a sweat-stained chair in a mildew-sick motel room with a suitcase full of cash at my feet. Waiting for men without faces to come take it—and maybe me—with them. People say those types don’t have a code. That’s bullshit. Everyone’s got a code. Theirs just doesn’t match yours, and it sure as hell doesn’t care about your pulse.

The suitcase sits there like a loaded confession. The clasps are worn, the handle tired, but the weight… Jesus, the weight hums in the air. Life-changing kind of weight. The “fresh start” kind. But that’s a fairy tale for the clean and the lucky.

Me? I’ve got ghosts baked into my bones. Every choice I ever made cut a groove I can’t climb out of. And no matter what’s in that case, I’m not getting out clean.


Author’s Note:
It’s been weeks since I’ve thrown down a little flash fiction. I’ve been neck-deep in the world-building swamp for a project that keeps getting bigger every time I turn a corner. Figured I’d come up for air before it swallows me whole. This one’s thanks to Fandango’s Story Starter and FOWC for tossing me the match—sometimes you just need the right spark to remember you still know how to burn.

This Is Not a Mission Statement; It’s Just the Way It Is

Daily writing prompt
What change, big or small, would you like your blog to make in the world?

We’ve been trained to expect clarity.
To believe every big feeling must end with a moral—
A neat conclusion, a TED Talk takeaway, a three-step solution.

But here’s the truth, I keep chewing like nasty gristle:

Some things don’t resolve.
Some stories stay jagged.
And some blogs, this one especially, aren’t built to clean up after your pain.
They’re built to leave it on the floor, still breathing.


I started Memoirs of Madness because I didn’t know what else to do with the words.

Over a decade ago, someone said every writer needed a blog if they were serious. I didn’t think much of it. I didn’t know if I was serious. I just knew I had things in me that wouldn’t stay quiet.

I wrote because I needed to. Still do.
Not to change the world. Not to craft a brand.
But because silence costs too damn much.


So when you ask me, “What change do you want your blog to make?”
I honestly don’t know.
And that’s not me being evasive. That’s me refusing to lie to you.

I could dress it up. Tell you it’s about healing. About expression. About building a community for the unseen. All of which might be true, sometimes. But defining that change in a singular, bite-sized way would flatten what this space actually is.

This blog isn’t one thing.
It’s a mirror that distorts and reveals depending on how the light hits.
It’s rage on Monday, softness on Tuesday, confession by Thursday, and grief that overstays its welcome every damn Sunday.


If Memoirs of Madness changes anything, I hope it changes the way you think about being unfinished.

I hope it disrupts that polished self you wear in front of strangers.
I hope it reminds you that not knowing is still worthy of a voice.
Those messy, unresolved, and unsellable truths still deserve the page.

I hope this blog pisses you off sometimes.
Not because I’m aiming to provoke, but because something buried in you recognized itself and flinched.

Because it sure as hell pisses me off—
dragging up things I thought I buried,
making me admit shit I’d rather leave unsaid.
That’s how I know it’s honest.


So no, I didn’t build this place to change the world.
I built it to survive mine.

And if, by some luck or accident, it helps you survive yours—
then maybe that’s the kind of change that matters most.


Smoke, Mirrors, and Monkey-Poop Coffee

Daily writing prompt
What’s the most money you’ve ever spent on a meal? Was it worth it?

This is what I talked about the first time I answered this question:

I’ve dropped stupid money on “fine dining” more than once, usually to be served food that looks like it belongs in a museum instead of my stomach. But the one that sticks with me? The night I took my late wife to that steakhouse she wouldn’t stop talking about. She made me dress up—tie, polished shoes, the whole bit—like we were going to meet royalty.

The place was gorgeous, sure. Atmosphere dripping in class. The kind of joint where they pull out your chair for you and whisper when they ask for your order. But the food? Overpriced mediocrity on a porcelain plate. I sat there chewing, thinking about how many actual cows must’ve died in vain for that bland cut of steak.

She smiled through it, pretending it was everything she’d hoped for. I stayed quiet, pretending right along with her. We drove home, still dressed to the nines, and the first thing she did was pull ground beef from the fridge. Buttered buns, sizzling patties, a dusting of garlic salt. Her famous cheeseburgers hit the table ten minutes later.

She took a bite, lit a cigarette, and said, “That place was sure nice, but the food was horrible.”

I laughed, halfway through my own burger, grease running down my fingers. “Yeah,” I said, deadpan, “but you’re sure wearing that dress.”

She gave me that mischievous grin that meant the night wasn’t a total loss.

So no, the meal wasn’t worth it. But sitting in our kitchen, sharing those burgers, talking like the world didn’t exist outside those four walls? That was priceless. And no five-star restaurant has ever come close.

“Fine Cuisine,” scoffs. I’ve been dragged to a few more of these temples of pretension since my wife passed, and it’s always the same circus act: menus written like bad poetry, plates dressed up like runway models, and food that couldn’t fight its way out of a paper bag flavor-wise. Then, some slick-haired waiter wants to tell me about coffee made from monkey poop like it’s the gospel of good taste. Stop for a second and consider: Why in all that is holy and suspect would anyone want to drink monkey poop coffee? Maybe I missed my calling as a food critic. I’ve got the palate, the sarcasm, and enough bad meals under my belt to write a horror anthology. I just stare and think, Does your Mama know you talk like that? Don’t you lie to me! Whew, were you about to lie on your mama? Let me slap you for her. Come on now, take this. Over here, lying on your mama. Just shame. Because here’s the truth: half these places are selling smoke and mirrors, not meals. And most nights, I walk out thinking, I could’ve stayed home, cooked a real burger, and saved myself the insult and the bill.

Kindness Shouldn’t Have a Name

Some lessons in decency don’t need applause—they just need doing.

Daily writing prompt
Write about a random act of kindness you’ve done for someone.

When we were kids, life taught us early how far a nickel could stretch—and how often it didn’t. We’d walk the streets collecting bottles and cans, hoping to scrape enough together for a sugar rush at the corner store. Back then, they were Mom-and-Pop joints, the kind where everyone knew your name and your running tab of trouble. We’d stand at the candy rack, counting and recounting our coins, trying to game the system and get the most candy for the least cash. Never worked out like we wanted. Especially when a new treat hit the shelf, shiny and out of reach.

Fast forward a few decades. I’m in one of those little grocery stores that somehow survived the big-box purge. I catch sight of two kids doing that same math on the floor, coins spread out like a desperate poker hand. Something about it yanked me backward in time, to the weight of nickels in a sweaty palm and the taste of wanting more than you could buy.

So I slid the cashier a few bills and told her to make sure those kids didn’t have to choose between sour worms and chocolate that day. The store owner, in his well-meaning way, pointed me out like some small-town hero. The kids lit up, grinning at me like I’d handed them the moon.

And that’s the part I hated. Not the kids’ smiles—hell, that’s the good stuff—but the fact that it wasn’t supposed to have my name on it. My father brought strangers home, gave them a meal, a place to sleep for the night, and never said a word about it. My stepmom told me those stories later, like family lore whispered over coffee. I grew up believing you do what’s right, no matter the cost. I didn’t understand this then, but as I got older, it began to resonate.

Kindness, the way I learned it, is quiet. It’s supposed to slip in, do its work, and leave without a sound. That day, the sound of my name broke the rule I was raised on.

She Kissed Me Hard and Left Me Staggering

Some truths don’t need eyes to see. You feel them in the weight of a man’s silence.

Daily writing prompt
How would you describe yourself to someone who can’t see you?


What good is a physical description to someone blind? They won’t get lost in your eyes. They won’t grin at your sculpted muscle or at that little pudge on your waistline. A woman once told me that’s what made the “cute guys” irresistible—that pudge. Then she kissed me hard, with enough heat that it said she meant every damn word. So, without sight, how can anyone truly see you?

I’m the one brooding in the corner. Always there if you need me, never in your way. You can tell my size by the weight of my breathing. You can tell I’m a troubled man by how it stumbles—half regret, half resolve.

Blindness isn’t just losing sight. It’s what we refuse to see even with both eyes open. If you can’t see me, maybe you’re not missing much. I’m not built on appearances. You’d know me by how the air shifts when I walk in.

Before I say a word, you’ll feel the drag of boots on old floorboards, the kind of silence that’s got teeth. My laugh, when it comes, sounds like it fought its way through smoke. I keep my distance but stay close enough that you know you’re not alone in the dark.

So don’t picture my face. Picture the weight of a man who’s been through fire and stayed standing. Picture silence with sharp edges and breath that’s seen too many long nights. That’s me. If you need me, you won’t need eyes to find me—you’ll feel the shadow that doesn’t leave until you’re safe.


The Tradition I Refused to Keep

Daily writing prompt
What traditions have you not kept that your parents had?

Traditions? We didn’t have those. What we had was the grind—long hours, picket lines, busted knuckles, and dreams that never quite made it past the kitchen table. That’s what I grew up with. That’s what I walked away from.

My Ma worked her ass off every damn day. She never made speeches about doing it for me—she just got up, got dressed, and kept food in my mouth. I spent time on picket lines with her, too young to know what we were fighting for but old enough to feel the solidarity—cookies, soda, and snacks passed my way no matter the weather. Years later, sitting in thirty-below weather on my own grind, I thought, so this is how it feels. Some lessons don’t come wrapped in wisdom—you learn them the hard way.

My father’s grind was a different verse to the same song. He and my stepmom worked long hours, no safety nets. Dad taught me how to fix things with lines like, “Boy, grab me this,” or my favorite, “Fix this—it better be done by the time I get back.” He never yelled. There was a rare calm in him when he was fixing something, like bringing broken things back to life was his way of breathing. That stuck with me. Eventually, I learned not just to fix things but to make them better. Maybe that was his version of a tradition.

Retirement was the myth in my family, whispered about like a holy grail no one ever reached. My dad swore he’d finally read when he retired. He never got there. My ma hit semi-retirement only to take extra shifts to keep the lights on. My stepmom? She made it, still kicking, still talking smack.

And me? I’ve retired twice now, younger than they ever did. When I visit my stepmom, I tease my older brothers about it with gusto, like it’s my life’s calling. She just smiles and finally says, “Leave your brothers alone.” But I don’t. I earned this one.

I read every damn day. I smile. I exhale. That’s the tradition I refused to keep—the one where you grind yourself to dust chasing a finish line you never reach. I broke the cycle. I fought like hell so I could finally breathe.

Tarab & Bone

Prose – 3TC


I’m not afraid.
I’m not afraid.
I’m not allowed to be.

Where I come from, fear is a luxury we were born too broke to afford. Vulnerability wasn’t something we dismissed—it was something we were denied. It was kept behind locked doors, like heirlooms we didn’t inherit.

My grandfather didn’t teach with words. He taught with what he didn’t say. He taught me how to keep the jaw tight, how to pray in silence, how to hold grief like a second spine. He had crafty ways of navigating rooms where he was expected to be invisible, but somehow always left a shadow. He taught me not how to cry—but how to endure the crying of others without blinking.

They told us to walk tall, but not too tall. To speak, but not loudly. To lead, but never forget we’re replaceable. Strong—always. Seen—rarely. Heard—only when invited.

I learned to carry myself like a verdict. The years didn’t soften me—they carved me. And somewhere between funeral suits and morning trains, I mistook resilience for religion.

I’m not afraid.
I’m not afraid.
I’m not allowed to be.

Because they’re still watching.
Because weakness stains in places bleach can’t reach.
Because I carry names no one etched into stone, but I wear them anyway—in the bend of my back and in the tightening of my breath whenever the world grows quiet enough to remember.

I’ve loved with fists.
I’ve buried more brothers than birthdays.
I’ve stared into mirrors and seen ghosts blink back.

And I’m still here.
Which means I’m still dangerous.

Some days, I hear the voices—low and layered, like drums beneath concrete. Whispers at a distance. Ancestral static tuning itself in the back of my skull.

Who is speaking?

My father, maybe—never said “I love you,” but left it folded into a clean shirt and the sound of a deadbolt clicking after midnight.

Or the ones who never made it past eighteen, who hover behind my ribs like secrets I’ll never tell.

Some of them speak in riddles. Some in warnings.
And some just laugh—cheeky, almost cruel:
“Look at this one, still trying to turn ghosts into gospel.”

I remember the nippy mornings, before light. Cold air that slapped you awake. The kind that taught you pain was just a temperature shift you’d survive if you didn’t flinch. Those days made your bones ache—but they made your will sharper, too.

And now, standing here, with all of that folded inside me like a fire I never asked to carry, I wonder:

What have I done with all I’ve been given?
Have I honored the ones before me?
Or just mirrored their silence?

What have I left for the ones next?
A trail of smoke?
A shut door?
A story they won’t want to finish?

What if the bravest thing
isn’t being unafraid—
but being seen?

Not as legend.
Not as weapon.
Not as sacrifice.
But as person
messy, aching, unfinished.

What if legacy
isn’t built on who endured the most,
but who dared to feel
what others refused to name?

Maybe I’ve been strong too long.
Maybe strength
ain’t the absence of fear,
but the courage to admit
you needed saving too.


Not a statue.
Not a sermon.
Not a ghost.
Just a man—
…and maybe that’s where the healing begins. And the trouble ends with me.


Authors Note:

This piece was sparked by Di’s 3TC challenge—and yes, I stole a line from Stacey Johnson’s poem order. Is it still stealing if I tell you up front? (Shrugs.) Anyway, as usual, I’m grateful to be inspired by friends who make me write better, feel deeper, and laugh louder. You know who you are.

The Dame Wore Duck Boots

Forecast: Regret – Episode 2

She appeared just past the second lamppost—trench coat clinging like a secret, umbrella in hand, striding through puddles like the laws of physics were optional.

Julian knew trouble when he saw it. It usually wore red lipstick, a miniskirt, and a tight monogrammed sweater—the kind of outfit that said “daddy pays the rent but I hold the lease on chaos.”
Today, though, trouble wore duck boots that quacked with every step and a look that could curl paint off a Buick.

She didn’t look at him. She didn’t have to. Women like that didn’t look; they summoned.

“Lost your umbrella again?” she said, pausing by the bench where Julian had been pretending not to argue with a squirrel.

“It fled the scene. Honestly, I think it’s seeing other people.”

She didn’t laugh. Just smiled—barely—a slow tilt at the corner of her mouth, like a private joke that hadn’t decided whether to trust him yet.

They stood in silence, rain dotting her umbrella like Morse code for bad decisions. The space between them held history—not romance, not quite—but something forged in long nights, bad coffee, and one too many favors exchanged with no names attached.

Then the birds attacked.

Not big ones. Not Hitchcock’s apocalyptic squad. These were small. Spiteful. Moist. They dive-bombed like feathered torpedoes with a vendetta against hats.

Julian flailed. She calmly finished a sip of coffee.

“I told you not to use that conditioner,” she said, ducking as one bird performed a tactical swoop. “Lavender-scented. They think you’re a meadow.”

“Then why are they hitting you, too?”

“I might have rubbed some of it on your collar.”

Julian blinked, now soggy and betrayed. “Why?”

She sipped again, her expression as neutral as Switzerland on a Tuesday. “Science.”

One bird landed triumphantly on the umbrella. Another did an aerial split and flipped him off mid-squawk.

Julian sighed and slumped onto the bench, defeated. She sat beside him, leaving an equal six inches of space and chaos between them.

For a moment, the world fell quiet—just rain tapping the concrete, the occasional rustle of wings, and that unspoken thing that always hung between them.

Maybe it was love once. Maybe just recognition. Like two people who survived the same fire and never spoke of it.

“I curl my hair in the mornings just for this,” she muttered, brushing a wet strand from her face.

Julian didn’t reply. He was too busy wondering if dignity could be taxidermied—or if maybe, just maybe, this ridiculous kind of connection was all the grace some of us got.


Author’s Note:
This piece is a continuation of the Forecast: Regret series—a flash fiction collection built on misadventures, poor choices, and the occasional squirrel assault. I wrote this story using the prompts from SoCS (Stream of Consciousness Saturday) and Esther’s Weekly Writing Prompt, which continue to challenge and inspire me in strange and delightful ways.

As always, I try to have fun writing fiction—because if I’m not enjoying it, I can guarantee Julian isn’t either.

Lessons in Disappearance


for those who know what it’s like to be visible but not believed

Every day is another lesson in invisibility.
Not the kind you choose, not the soft fade of a disappearing act.
This is the kind handed down in glances that slide past you.
In doors that stay closed just a second longer when you’re approaching.
In the space you leave behind when you’re gone, and no one notices the shape of your absence.

You become fluent in the language of indifference.
You learn the weight of unasked questions.
You memorize the way people say “I didn’t see you there” like it’s a kindness,
instead of an indictment.

There is a peculiar violence in being overlooked.
Not bruised. Not broken. Just… reduced.
Down to skin, down to stereotype, down to background noise.
They don’t mean to erase you—
and somehow, that makes it worse.

They’ll say you’re quiet.
You’ll wonder if they’ve ever actually listened.

You wear shame like a second skin.
Not because you earned it,
but because somewhere along the way,
someone handed it to you like inheritance
and you forgot how to put it down.

You stand still in a world built to move around you—
fast, loud, full of curated meaning.
And you begin to question:

Is there something wrong with me, or is there something wrong with this lens that always finds me blurred?

You’ve learned to map your pain in silence.
Each breath is a kind of protest.
Each blink a refusal to disappear entirely.

There are veins beneath your skin that look like lightning—
not because you are struck,
but because you are always just about to burn.

And yet you don’t.
Not fully.

You endure.
Not in glory. Not with applause.
But with defiance.
The quiet kind.
The kind that goes unnoticed until someone says:

“I didn’t realize you were carrying that much.”

And you smile without smiling,
because you know the truth:

You were always carrying that much.
They just never asked to know.

Do I Look Happy Enough?

A quiet reckoning with the expectations we wear and the joy we fake.


When was the last time you were truly happy?

No—
not the curated kind.
Not the smile you wore for someone else’s comfort.
Not the polite laugh that tasted like performance.
Not the checklist joy: house, job, partner, post, repeat.

I mean the kind of happiness that sneaks up on you in bare feet.
The kind that doesn’t make sense but fills your ribs like breath you forgot you were holding.
The kind that doesn’t ask for an audience.
Doesn’t post itself.
Doesn’t need to be liked to be real.

Most days, we confuse peace with silence, and silence with defeat.

You tell yourself you’re content. That this is what adulthood looks like—responsibility, stability, being “grateful.”
You wear that word like a bandage.
But underneath?
There’s a pulse of something unsaid.
A throb you ignore until it bruises.

You smile at strangers. You meet deadlines. You show up.
And in between the commutes and compromises,
you start to wonder if you buried yourself in the crud of being acceptable.

The barrage is constant—
what you should want, who you should be, how you should smile.

But no one ever asks if you’re still in there.
Not really.
Not the version of you that danced alone in the kitchen at 1 a.m.
Not the you who found joy in dumb little things that didn’t need justification.
Not the version of you that wasn’t tired.

You’re silently screaming.
Every day.
And you do it with perfect posture.

Because to speak it—
to say “I’m not okay”
feels like betrayal.
Like failure.
Like you’re too much and not enough, all at once.

But here’s the quiet truth:

Maybe you haven’t been happy in a long time.
Maybe you don’t even remember how it felt.
But maybe that question—when was the last time you were truly happy?
isn’t meant to shame you.
Maybe it’s a breadcrumb.
A way back.

Not to the person you were before the world smoothed your edges,
but to the one still flickering beneath the noise.

The one who still believes in joy,
even if they haven’t seen it in a while.


🪞Reflective Prompt

Take a moment.
Find a scrap of paper, the back of a receipt, or the notes app on your phone.

When was the last time you felt joy that wasn’t expected of you, sold to you, or shared online?
What did it feel like in your body?
What part of you still remembers?

Red, White, and Boom (Also Vomit)

FLASH FICTION – FRIDAY FAITHFULS


“Grandpa, I need a real story for my history project. Something about America, or the Fourth of July, or whatever.”

The old man scratched his chin, leaned back in the squeaky recliner, and smirked.

“Alright, kid. Lemme tell you how your grandma and I met. It was the Fourth of July, 1978. I was 19, dumb as bricks, and full of patriotic stupidity.”

From the kitchen, a voice called out: “Oh, this again. You gonna tell the real version this time, or your usual nonsense?”

Grandpa rolled his eyes. “It’s all true. Just maybe… slightly singed around the edges.”

It started with an idea. Not a good one. My Uncle Tommy, our genius friend “Meatball,” and I decided to put on our own fireworks show. We didn’t have proper fireworks. We had two crates of off-brand bottle rockets, a metal garbage can, a stolen traffic cone, and a six-pack of warm root beer.

Tommy swore the garbage can would “amplify” the fireworks. Meatball called it “fire science.” I just lit the fuse.

Boom.

The garbage can launched thirty feet in the air like a missile. One rocket shot sideways and hit a mailbox. Another bounced off my forehead. And one, God help me, flew straight down my pants.

I panicked. I ran in circles. My shorts were smoking. I stopped, dropped, rolled, and screamed. At some point, my eyebrows gave up and disappeared.

Next thing I know, I’m in the ER, wrapped in silver burn cream, looking like a baked potato with no dignity.

That’s when your grandma walks in. Nurse training student. Bright smile. Clipboard. Smelled like lavender and antiseptic. She looked at me, this smoldering idiot, and said, “So… was it worth it for freedom?”

From the kitchen again: “And what did you say next, hotshot?”

“I said she looked like a very clean angel. Then I threw up on her shoes.”

“Mm-hmm. Romantic.”

“Did you ask her out?”

Are you kidding? I tried. But the morphine was kicking in. I told her she looked “like a floating disinfected goddess” and then passed out while apologizing to the IV pole.

Still—she didn’t run. That’s how I knew she was special.

We kept in touch. She came to my follow-ups. I wrote her letters. She eventually forgave the vomit. We got married two years later. She even let me light sparklers at the wedding. Supervised, of course.

“Wow. That’s kinda romantic… in a flammable way.”

Exactly. So you tell your teacher this: Freedom’s messy. Fireworks are dangerous. But love? Sometimes, it starts with a bang. Just don’t put bottle rockets in garbage cans.

From the kitchen: “And tell him about the park ban!”

“That’s not relevant to the assignment.”

Unapologetically Unedited


Is it hard to be a beautiful woman? People think you have the world at your feet. They think doors open for you, heads turn for you, and life bends around your presence. But they don’t see the trade. They don’t see the constant calibration—how much of yourself you shave off each day to fit into someone else’s frame. Beauty is not freedom. It’s exposure. A spotlight you didn’t ask for, that you can’t turn off.

You’re seen before you’re heard. Assumed before you’re known. People don’t meet you—they meet the idea of you. Their version. Their fantasy. Their fear. And if you don’t match it? You become a threat. A disappointment. A target. It’s not just tiring—it’s erasure in slow motion.

So you patch yourself together—smile here, soften there, silence the part that wants to speak too loudly. Over time, your identity becomes a kind of repair job. You keep the strongest parts in storage, hidden from view, waiting for a time when it might be safe to bring them out. You begin to wonder: Who am I without all the edits? What’s left when I’m not translating myself for someone else’s comfort?

You learn to play roles just to survive. To be warm but not inviting. Assertive, but not “difficult.” Intelligent, but never intimidating. Every room becomes a stage. Every glance is a calculation. When will it be okay for you to step out from behind their idea of you, letting you be who you are, not who they’ve imagined or prefer? How many masks do you have to wear before one of them finally feels like skin?

The tension doesn’t just live in your body—it rewires it. It clutches your voice before you speak. It lingers in your posture, in your smile that’s a little too careful, in your silence that’s mistaken for grace. They don’t see the moments when you swallow yourself to keep the peace. When you feel the full ache of being looked at but never seen.

Every day, you make choices that feel small but cost you something: how to walk into a room, how to hold your face, when to speak, and when to stay quiet. You tell yourself it’s just for now. Just until it’s safe. Just until they see you for real. But how long can you stay edited before you forget the uncut version?

The woman in the photo is not just posing; she’s done shrinking. Her posture is not elegance—it’s exhaustion turned into boundary. It’s defiance without apology. It’s a question you can’t ignore anymore: What happens when a woman stops choosing what’s expected, and finally chooses herself?

Not your version of her. Not the one that plays nice. Just her. Fully, freely, finally.


Author’s Note
This piece was written for Esther’s Weekly Writing Prompt, with a word prompt from Fandango’s FOWC.
Big thanks to all of you for keeping the creative fire lit week after week, day after day. These prompts aren’t just words—they’re jumping-off points, gut checks, and sometimes lifelines. Appreciate what you do more than you know. Keep ‘em coming.

Late Night Grooves #156

WHOT Episode 156 – “What Weighs on You” by Zig Mentality

Hosted by Mangus Khan

[A low guitar loop spirals in, tight and tense. You feel the pressure before the first word is spoken.]

“WHOT.

Late Night Grooves.

Episode 156.

I’m Mangus Khan.

And tonight… I don’t have a message.

I have a question.

What weighs on you?

What’s the thing you haven’t said out loud?

The thought that sticks to your ribs when the room goes quiet?

What’s making your bones heavy, your sleep short, your hands shake just a little when no one’s looking?

Tonight’s track doesn’t preach.
It doesn’t even fully answer.

But it asks.

Zig Mentality – “What Weighs on You.”

This song sounds like someone trying to hold their breath for too long.
The beat is tight, almost suffocating.

And the lyrics?
They’re not there to comfort.

They’re there to pull the weight out of your chest and show it to you.

“You don’t gotta say it / I already know…”

That line alone?

That’s what makes this track dangerous—

Not because it’s loud.
But because it sees you.

This isn’t about rage.
This is about the quiet, everyday heaviness most of us are too scared to name.

The pressure to perform.
The fear of letting people down.
The ache of wondering if this version of you is the one worth keeping.

Zig Mentality doesn’t yell here.

They let the discomfort sit.

The groove isn’t wild, it’s controlled chaos.

Because this track knows the hardest battles don’t make a sound.

So tonight, I’m not spinning a banger.

I’m spinning a mirror.

What weighs on you?

Episode 156.
Zig Mentality.
What Weighs on You.

This is Late Night Grooves.
WHOT.

And I’m Mangus Khan—
Not handing out answers.

Just waiting with you in the silence that follows the truth.

Still listening.
Still asking.
Still here.


Heresy Spiral

Part VII of the Spiral Series

The breach wasn’t what drew them this time.

She was.

Carla had felt it—long before the cliffs came into view, before the wind shifted, before the sky’s texture flattened into stillness. This wasn’t the usual Spiral pull. It didn’t lure or prod. It didn’t hum.

It watched.

She moved cautiously over the dry bluff, boots scuffing loose rock. The sea glittered far below in the late-afternoon haze, fractured sunlight spreading across its shimmering surface like a spill of silver threads. Wind carried no salt, only dust and a faint tang of rusted metal.

The silence was complete. Even her own breath felt out of place.

She found the camp carved into the slope of a cliffside ridge—subtle, deliberate, too symmetrical to be a coincidence. Four tents. One cold fire. A cracked solar dish half-embedded in a shallow crater.

Three figures sat near the ash pit, eyes already on her.

“You’re late,” said one. Calm. As if she had kept them waiting for something that had already happened.

They called themselves The Stayers.

Not cultists. Not travelers. Former closers like her. People who once twisted artifacts and left scorched geometry in their wake.

Now they did nothing.

“The Spiral feeds on choice,” said the woman with the burned throat. “Sealing. Opening. Doubting. It doesn’t care. It just counts motion.”

“So we don’t move,” said the old man. “We stay. That’s the only defiance it doesn’t know how to shape.”

Carla crouched by the fire pit. The scent of dry grass and melted plastic lingered. Spiral symbols were scratched into the stone around the perimeter—faint, deliberate, and concentric.

“Doing nothing is still a decision,” she said. “It’s still a shape.”

“Maybe,” said the woman. “But it’s a simple one.”

They told her stories late into the night.

One claimed a breach in Greenland had reversed a river’s current for seven years. Another swore that one seal had erased an entire language from the minds of the people who spoke it. The old man said nothing. Just stared into the ashes, lips twitching now and then in silent repetition—a mantra too quiet to catch.

Carla listened.

She wasn’t sure if they were lying. Or if truth had started to drift from language entirely.

Above, the sky stretched starry and sharp. One constellation spiraled outward with uncanny symmetry—an unnatural twist she hadn’t seen before.

She didn’t sleep. The camp felt airless. Not from lack of oxygen—just lack of time.

Hours passed.

She stayed by the embers.

That’s when he came.

A young man—quiet, deliberate, barefoot. No weapon. No coat. His tunic was worn thin and hand-stitched with spiral thread. He moved as if he were afraid to ripple the air.

“You’re not like them,” Carla said.

“Not anymore,” he replied. His voice was careful, almost polite. “I’m Esh.”

He sat beside her, close but not quite touching.

“You came with someone,” she guessed.

He nodded.

“My sister. She believed. Said she heard the Spiral speaking through frequencies. Radio static. Drips in the stream. She followed it here.”

“What happened to her?”

“She went deeper.” He looked at his hands, “Stopped eating. Stopped speaking. One day, she walked into the breach and didn’t come out.”

Carla tensed.

“There’s a breach nearby?”

“Not anymore,” he said. “The tower replaced it.”

They sat in silence for a while. The fire had died down, but heat still pulsed in the stones.

Esh leaned forward, tracing a spiral into the ash with one finger.

Carla pulled off her glove and placed her marked palm beside it. The glow from her skin lit the spiral like embers reawakening.

“It’s not random,” he said. “It’s a pattern. And the more we act, the more it learns. You twist, it adapts. You seal, it shifts. You feel like you’re resisting, but maybe you’re just… rehearsing.”

“Then why stay?” she asked.

He didn’t answer right away.

“Because it wants us to move. To respond. That’s how it grows. And the Stayers believe that if they just wait, it’ll shrink. Or forget them.”

“And you?”

“I think that’s cowardice disguised as wisdom.”

His eyes flicked toward her mark.

“You still feel like yourself?”

“Mostly,” she lied.

“Good,” he said. “Because when it stops feeling foreign, that’s when you should worry.”

Later, he walked her to the edge of camp. A soft breeze rolled over the bluff. The sky had begun to warm—not true dawn, just a faint silvering of the clouds.

“I dream in spirals now,” he said. “And I don’t think they’re dreams. I think it’s downloading us, piece by piece.”

“Why are you telling me this?”

“Because I can’t leave. Every time I try, I wake up here. In the same spot. Same sunny wind. Same sky.”

He touched the spiral mark on his chest—faded, scarred over.

“But you… You’re still moving. You’re still free.”

He pressed something into her hand. A flat stone, smooth as glass.

“Keep it,” he said. “So you remember you’re not one of us.”

By morning, the camp was gone.

No tents. No ashes. No tracks.

Only the stone remained—flat, palm-sized, spiral-carved.

And on its back, one word etched in ragged lines:

Start.

The Spiral was no longer hiding.

As Carla moved west, the terrain felt engineered. Heat rose not from sunlight but from beneath. The ground didn’t crack—it shifted. Like skin twitching in response to touch.

The cliff dropped suddenly.

Below: the tower.

Not built.

Grown.

Smooth, seamless, pulsing with soft light. Like it had been waiting underground, and the world had finally aligned to let it through.

Carla’s knees weakened.

A voice—not hers—whispered behind her thoughts:

Let me help you carry the rest.

She stepped forward.

The Spiral wasn’t mimicking her anymore.
It was practice.


Author’s Note:
This chapter was written incorporating Mindlovemisery’s Menagerie #429. Three episodes remain—stay tuned as the Spiral begins to speak.

Awe Without Agreement

Daily writing prompt
How important is spirituality in your life?

Why Spirituality Still Guides Me, Even Without Certainty

Spirituality isn’t just important in my life—it’s foundational, not in a rigid or performative sense, but like a compass in the dark: quiet, steady, essential. It’s how I move through the world—not by chasing answers, but by honoring mystery and the many paths people take to find meaning.

Over time, I’ve come to see that spirituality isn’t about being right. It’s about being rooted in humility, in compassion, in the ability to hold tension without needing to control it. It’s about making space for someone else’s truth, even when it doesn’t look like mine.

A person’s spiritual journey is personal and should be respected, not ridiculed. Whether it winds through scripture, silence, ritual, or raw experience, that path isn’t mine to judge—only to witness with reverence.

This isn’t some foolish notion born from reading obscure texts. It’s something I’ve witnessed—men and women of different beliefs working side by side to feed the hungry, to care for the sick, to comfort the grieving. Not because they shared beliefs, but because they shared purpose. That, to me, is sacred.

This ideal is the basis of my forthcoming work, Understanding Without Agreement—a reflection on interfaith understanding, sacred plurality, and the shared longing beneath our differences. It challenges the notion that coexistence requires compromise and instead affirms that belief and respect can live side by side.

Spirituality shows up in sacred texts and indigenous rhythms, in Buddhist stillness and Sufi fire, even in the honest discomfort of philosophical critique. It’s not a uniform—it’s a mosaic. And every piece matters.

So yes, spirituality is vital in my life. Not because it solves everything, but because it keeps me human. It teaches me to listen deeper, to live with open hands, and to believe—fiercely and tenderly—that awe is bigger than agreement.

Surviving the Shipwreck: Truth, Even If It Makes Us Uncomfortable

Who writes history, anyway?

Is it a bunch of old men in a room, swirling sherry like it’s holy water, declaring what mattered and what didn’t with the confidence of people who’ve never been told to clean up after themselves? Do they lean back in leather chairs and decide what’s worth remembering, while the rest of the world cleans the dishes, changes the linens, and quietly disappears?

Because let’s be honest—history isn’t what happened. It’s what survived. It’s the polished version of a chaotic past, curated by those with power, perspective, and the privilege to speak uninterrupted.

But what about the ones who made that version possible?

Why don’t we ever hear about them? The people who provided the comfort, the nourishment, the spark. The woman who changed the sheets so a “great man” could sleep through the night. The friend who uttered a half-thought over coffee that later became a manifesto. The cook who fed the movement. The janitor who unlocked the building where the protest was planned. The lover who reminded someone they were human before they put on the mask of leadership.

History applauds the speech, but forgets the breath it took to say it.

We’ve been sold the idea that history is boldface names and bronze statues. But most of what matters happened in kitchens, back porches, alleyways, and hands calloused from lifting, not pointing.

We know the architects of nations. But never the bricklayers. We memorize the names of authors, but forget the unnamed soul who said something beautiful that stuck. We forget that for every “visionary,” there was someone behind the scenes keeping them afloat. Holding the ladder. Mending the net.

So no—history isn’t just written by the victors. It’s written by survivors. By omission. By spin. And often, by those who had the means to make a record in the first place.

The rest? The ones who lit the fires, bore the burdens, whispered the truths?

They became the silence between chapters. The invisible ink.

But if you look close—really close—you’ll find them. In the margins. In the echoes. In the way a melody lingers long after the singer is gone.

Because history wasn’t built on sherry alone. It was built on sweat, sacrifice, and souls that never asked to be remembered—just not to be erased.

But what happens when they get it wrong?

When, the ones holding the pen decide the truth is inconvenient? When the story is shaved, polished, and repainted, so it gleams just right in the museum light? What happens when history becomes less about remembering and more about marketing? About preserving an image, not a truth?

That’s when history turns into myth. Not the kind with gods and monsters, but the kind where the villains are edited out, and the uncomfortable questions are filed away—lost behind locked drawers labeled “context.” You know, for our own good.

And maybe they don’t mean to lie. Maybe they just optimize. Smooth the edges. Add a little glow to the legacy. After all, who doesn’t want their heroes to look heroic? Their country to feel noble? Their ancestors seem wise?

But shaping the past for the best possible result isn’t harmless. It’s rewriting the foundation while pretending the house still stands the same. It’s how entire generations learn pride without accountability, patriotism without honesty, nostalgia without nuance.

And what’s left behind in that process?

The guilt that never gets named. The reparations never paid. The patterns that repeat because we swore they never happened in the first place. The echo chamber grows louder, but the echoes grow fainter—until all we hear is what we want to hear, and not what needs to be heard.

See, history can be a mirror. Or it can be a mask.

One tells you the truth, whether you like it or not.

The other flatters you, and hopes you don’t look too close.

So maybe the question isn’t just who writes history?
Maybe it’s who dares to revise it, once they know better?

Because if we only protect the polished version, if we only pass down the parts that make us proud, then we’re not honoring the past.

We’re embalming it.

And you can’t build a future on something you’ve buried just to keep the story pretty.

But what about when they don’t just get it wrong?
What about when they try to remove history altogether?

Really? That’s the move?

As if tearing down a statue makes the blood it commemorates magically dry up and blow away. As if banning a book unpublishes the pain it contains. As if not teaching something means it never happened.

We’ve seen it before: whole eras scrubbed clean, classrooms sterilized, uncomfortable truths repackaged into “heritage,” or ignored entirely. Entire peoples flattened into footnotes, if mentioned at all. Because someone decided it was better to forget than to face it. Better to be comfortable than be honest.

But here’s the truth, they’re afraid of:
You can’t remove history.

You can burn the documents. You can whitewash the walls. You can call it “divisive,” “unpatriotic,” or “too upsetting for children.”
But history isn’t gone—it just goes underground into stories told at kitchen tables. Into songs, poems, and scars passed down like heirlooms. Into eyes that still remember, even if the curriculum doesn’t.

The attempt to erase history is always a confession. A silent, trembling admission that the truth still hurts. That it never really stopped. It’s not about healing—it’s about hiding.

And hiding doesn’t protect anyone. It just keeps the cycle clean enough to repeat.

So no—you don’t get to skip the hard chapters because they make your heroes look human, or your institutions look cracked. That’s not erasing history. That’s erasing accountability.

And let me tell you—if your story can’t survive the truth, maybe it wasn’t a story worth keeping in the first place.

Maria Popova got it right:
History isn’t what happened. It’s what survives the shipwreck of judgment and chance.

So maybe it’s time we stop polishing the deck chairs and admit we helped steer the damn ship.

Maybe it’s time we stood by the dusty words in old books—the ones that dared to say things like honor, integrity, and truth. Not just when it’s convenient. But when it’s hard. When it means admitting that the past wasn’t all parades and progress. That some of it—hell, a lot of it—would’ve earned us a solid whoopin’ from our mothers, wooden spoon in hand.

So, excuse me while I go through a stack of biographies on Lincoln.

Because if we’re going to keep telling the story—
Let’s at least try to get it right.


Author’s Note
Forgive the rant—but not the passion. That part, I won’t apologize for. The ranting? Yeah… I might’ve gotten a little carried away.

This piece was written for Reena’s Xploration Challenge #386. I try to jump in when I can remember to pull my head out of a book long enough to notice.

Wait—what page was I on?

The Ache; The Regret

POETRY – MLMM #428

Hey, do you miss me?
The ache churns so slowly.
We found common ground,
but only after the fires.
The hard part is done.
Where you’d go?

I close my eyes
because yours won’t open.
The stillness is sharper now.
Colder.
Like it knows
what’s missing.

Time doesn’t pass here—
it gathers.
Cools around me,
wraps my spine like smoke.

You blinked once—
and left everything behind.
I don’t blame you.
But I still ask.

We were never perfect.
But in the spaces between the noise,
we held each other
like we meant it.
We were one —
not whole, just held.

Your memory sings to me softly—
what do I go?

What version of me survives
without the rhythm
of your breath beside mine?

I know you hide the words.
You are afraid to speak.
Don’t hide with me.
Your actions are so loud.

Even in silence,
you told on yourself.
Every absence,
every closed door,
every goodbye you never said
but lived.

Your side of the bed still curves.
Like you’re paused,
not gone.
But I know better.

A rainbow brushed the sky yesterday.
It didn’t stay.
Like you —
always near,
never quite here.

Are these words bound to fail?
Speak to me, hope, and follow through.
Don’t build a future in silence
and ask me to live in it.

My hope rests on every word you don’t say.
But I never told you
What I stood for.
Have I waited too long?
Did you leave thinking
I had nothing left to give?

The truth is,
I was afraid, too.
Of saying it wrong.
Of loving you louder
than you could stand.

If there’s anything beyond this,
I hope it’s not heaven.
I hope it’s just
You and me again,
quiet,
not pretending.
Present.
And finally
telling the truth.

I know you were right—
because my silence was gone.


Shuggie’s Boogie: The Kind of Guitar Playing That Makes You Question Your Life Choices

TUNAGE – SLS

In the endless debate about great guitarists, you know the names. They’re on every list. Hendrix. Clapton. Page. Santana. Occasionally, a few lesser-knowns sneak in—someone you maybe don’t know, so you check them out, nod, and go, “Okay, yeah, I see it.”

But there’s another tier. The ones who don’t make the lists. Not even the cool-guy “most underrated” lists. They’re ghosts. Phantoms. Legends whispered about in liner notes and sampled by producers who dig deeper than algorithms ever will.

Shuggie Otis is one of those.

Listening to Shuggie’s Boogie from Live in Williamsburg is like that moment in a bar when you stop in for a bite, thinking you’re just killing time. You sit down, order something greasy, maybe a beer. Then the band starts playing. No intro. No warning. You take a bite… and stop mid-chew. Fork halfway to your mouth. What the hell is happening on that stage?

You forget the food. You forget your phone. You just listen.

That’s what this track is. It blindsides you.

Shuggie doesn’t approach the guitar like a technician. He approaches it like someone who’s got something to say. This isn’t about speed or theory—it’s about attitude, feel, and intention. Every phrase lands with the kind of swagger that only comes from living a weird, sideways kind of life through music.

And the band? Locked in like they’ve been rehearsing for a world tour no one told you about. His son, Eric Otis, adds guitar textures like he’s painting in the shadows of his dad’s lead lines. Nick Otis, Shuggie’s brother, holds down drums with a groove that feels more instinct than effort. James Manning on bass is the glue—thick, steady, unshakeable.

The horns—Larry Douglas (trumpet, flugelhorn), Michael Turre (baritone sax, flute, piccolo, backing vocals), and Albert Norris—aren’t just dressing. They’re characters in the story, adding stabs and swells that make you lean in closer. And Russ “Swang” Stewart on keys knows exactly when to tuck in a note and when to let it bloom.

This isn’t a polished, clinical performance. It’s gritty. There’s some dirt under its nails. Some bark in the tone. But that’s why it works. There’s a certain beauty in letting the edges stay frayed. It’s alive. Like something could fall apart at any moment… but never quite does.

Shuggie recorded the original Shuggie’s Boogie when he was 17. Which is already annoying, because it was brilliant even then. But this live version? It’s deeper. Older. Wiser. Looser. He stretches out, takes his time, throws notes like curveballs that somehow always hit the strike zone.

It’s the sound of someone who doesn’t need to be on a list to prove anything.

If you’re into guitar playing that hits your chest more than your brain, this is your track. If you’ve ever dropped your fork because of a solo… well, maybe you already know.

And if you’ve never heard of Shuggie Otis? Good. You’ve got some listening to do.


The Moment That Catches You

Daily writing prompt
Describe one of your favorite moments.

DAILY PROMPT RESPONSE

Throughout my life, I have had numerous moments that make me smile, chuckle, and even cry. That’s not unique — we all carry those. So, I won’t go there. Instead, I’d like to discuss something else. Something quieter, but deeply personal.

The moment a story begins.

It’s not always dramatic. Sometimes it’s just a flicker — a stray thought, a memory, an odd image that won’t let go. But for me, that moment is electric. It’s the exact point where imagination kicks in, where the real world and the possible world start to blur. It might come during a walk or while staring out a window. No fanfare. Just that quiet spark that tells me: there’s something here.

That’s the kind of moment I treasure. Because from there, anything can happen.

Most of my story ideas come when I first wake up. There’s this moment — half-dream, half-thought — where I catch a fragment of something in the corner of my mind. I turn toward it. I chase it. And if I’m lucky, I chase it long enough for it to turn around and catch me.

That chase is what charges me. Stumbling through the dark, following breadcrumbs left by a story that doesn’t want to be found—not yet. The clues never come in order. They show up like scattered pieces of a massive jigsaw puzzle, except there’s no picture on the box. The image only reveals itself as you fit the pieces together. And even then, sometimes you’re wrong. Fooled. Thrown off.

And honestly? That’s when things get sexy. That’s when the story pushes back, when it fights you a little, when it demands more.

But we must be honest — to get the real stories, the good ones, you’ve got to look into the abyss. That’s where they live—just sitting there, waiting, watching, and daring you to prove you’ve got the patience, the grit, the nerve to piece them together.

You have to be careful, though. When you’re deep in it — in the thick of the story — you can lose everything. It can vanish like a wraith. One second, it’s there, close enough to feel, just long enough to let you know it could be something. The next, it’s gone. Because maybe you weren’t ready. Maybe the story saw through you. Weighed you. Measured you. Found you wanting.

Doubt stands at the edge of the Shadow, glaring with that slight, sinister grin — the kind that chills you deeper than you care to admit. You start to hear the whispers oozing from its lips. At first, you ignore them. But slowly, they start to take hold. You feel them crawl under your skin, digging their nails in. Their shrieks serenade your soul.

You have to resist. You have to defend the faith — in yourself, in the work, in the chase. Sometimes that’s all a writer has. Belief and maybe a little luck. If your courage holds.

So you scream back: “GET THE FUCK OFF ME!”

Then you breathe. Settle. Take the next step on the path.

I sit down in front of my laptop. Coffee on one side. A smoke. Guppy curled up by my feet. I take a deep breath.

And I write the first word.

Kimonogate

FLASH FICTION SERIES – FOWC/RDP/SoCS/FSS #203

A suburban saga of secrets, sequins, and sabotage.


Episode 1:

The Mayor, the Kimono, and Capote’s Forbidden Love

The text the mayor received simply read, “I know what you buried, and it wasn’t just a time capsule.”
He dropped his spoon into his cereal with a neutral thunk and slowly looked toward the back garden, where the freshly disturbed earth sat like a guilty secret under a patchy rhododendron. He took a deep breath and tugged at the collar of his robe—not the pink kimono, no, that one was currently six feet under with a copy of Mamma Mia! Live at the Greek in a glittery DVD case.

He clutched his phone with one hand and his cereal tube with the other. The mayor didn’t own bowls. Too vulnerable. Too open. Like a confession with handles.

Across the hedges, Myrtle McKlusky—seventy-nine, semi-retired, fully judgmental—was watching him from her sunroom. She sat in her recliner like a falcon in a floral nightgown, sipping from a pint glass of prune juice and fanning her three Chinese Crested dogs, each trembling with a different neurosis.

The largest, Capote, was vibrating like an old blender. He had recently discovered his feelings for Misty, Myrtle’s black Chow, and now stared out the window with the unrelenting passion of a Tennessee Williams heroine.

Capote had needs.

The mayor knew Myrtle had seen him. She always did. She had binoculars shaped like opera glasses and judgment shaped like artillery. He had tried to be discreet, but it’s hard to bury shame quietly when you’re panting in crocs and elbow-deep in mulch.

The kimono was silk. It had a peacock on the back. A punt of brandy had been involved.

And now someone was taunting him.

He stormed out of his house in cargo shorts and a tank top that said “Hot Dogs Over Handguns,” and made a beeline for Myrtle’s porch. She met him at the screen door, holding her smallest dog, Pontius—Pont for short—who barked like he was doing Shakespeare.

“Spying again, Myrtle?” the mayor growled, wiping sweat from his forehead and trying not to pant.

Myrtle narrowed her eyes behind rhinestone bifocals. “I would hardly call ‘having working eyes’ a crime.”

“That text wasn’t funny.”

“I didn’t say it was,” she said coolly. “Capote typed it. He’s quite dexterous. Especially since he caught your Misty presenting.”

The mayor’s eyes widened. “That’s my dog.”

“And that’s my Capote,” Myrtle said, lifting him proudly like a neurotic Simba. “And he’s in love.”

“She’s fixed.”

“So is he. Love finds a way.”

The mayor clenched his fists. “Call off your pervert dog or I swear, I’ll—”

“You’ll what?” Myrtle leaned forward, dangerous now. “Threaten three hairless angels with names from the Harlem Renaissance? Do it, Mayor. The HOA already wants your head after that incident with the inflatable disco duck.”

He froze.

She smiled.

“You wore the kimono to Dancing with Myself, didn’t you?”

Silence.

“And you did the full choreography. With backup. Solo.”

He turned and stormed away, sweat rolling down his temple, heart pounding, ears pent up with the ghost of Billy Idol.

Capote licked the glass longingly as Misty rolled in a pile of mulch. Somewhere, a wind blew through the garden. Somewhere, a love story had just begun.

And under the rhododendron, a peacock shimmered in the dirt, waiting.


Peace, Integrity, Humility — And Other Ways to Make Life Harder on Yourself

Daily writing prompt
What are the most important things needed to live a good life?

DAILY PROMPT RESPONSE

What are the most important things needed to live a good life?

For me, it really boils down to three things: peace of mind, integrity, and humility.

Peace of mind isn’t just a cute idea you chase after you’ve ticked off the career boxes and bought the right brand of meditation app. It’s the whole point. It’s being able to sit alone-no noise, no phone, no endless doomscrolling — and not feel like your own brain is trying to mug you. Without peace, all the money, likes, and shiny milestones mean exactly squat.

Integrity — the forgotten art of not being a sellout. Not the performative kind either. I’m talking about the real-deal, do-the-right-thing-even-when-it-sucks integrity. It’s what you do when no one is throwing you a parade or handing you a blue checkmark for it. It’s not glamorous, but it’s what keeps you from waking up one morning wondering how you turned into exactly the kind of person you used to roll your eyes at.

Humility — the secret sauce that keeps peace and integrity from congealing into self-righteous nonsense. Humility isn’t about shrinking yourself or apologizing for existing. It’s about remembering that no matter how many gold stars you’ve earned, you’re still a deeply flawed work-in-progress. You’re not the sun — the world doesn’t revolve around you.

And this leads into something a lot of people miss: Yes, living a good life is about not surrendering — not selling your soul at clearance prices. However, it’s also about recognizing that not everything revolves around you and your needs. Crazy, right? We tend to think our opinions, our feelings, our “truth” are the centerpiece of existence. And sure, it’s great to find like-minded people who “get” you, who nod when you talk and make you feel validated. But here’s the kicker: real growth often comes when someone challenges you, when they offer a perspective you hadn’t even considered because you were too busy broadcasting your own.

That’s why it’s imperative — life-or-death for your soul — to keep an open mind without compromising your integrity. It’s a balancing act, no doubt. But nothing in life is purely black and white, no matter how much we’d love for it to be. Life is lived in the messy, uncomfortable gray zones where two things can be true at once — where right and wrong aren’t always neon signs but flickering streetlights.


Why is it so hard to live by these values today?

Because society basically runs on encouraging the opposite.

We sit around and moan about how broken everything is — how shallow, how divided, how exhausting. And, sure, the system’s cracked. But let’s not kid ourselves — these aren’t new problems. We’ve been fighting the same internal battles — pride, impatience, ego — since we were toddlers throwing tantrums over the wrong color sippy cup.

What’s changed? The chaos is just faster now, noisier, harder to tune out. Peace of mind? Good luck finding it when your entire life is competing with ads, outrage, and hot takes. Integrity? Tough sell when the world loves a good shortcut and sells out faster than concert tickets. Humility? Ha — humility doesn’t trend well. Loud wins. Big wins. Modesty doesn’t even get a participation trophy.

And let’s be real: the stuff we’re so furious at “out there” is often just a slightly uglier reflection of what’s going on inside of us. The same insecurities, anger, and fear. Society didn’t invent these flaws — it just put them in a sparkly package and added a 24/7 subscription model.

So you have to stay close to yourself. Not the Instagram-ready highlight reel, but the actual human being — the one who’s weathered real triumphs and real faceplants. The one who’s fought for peace of mind, integrity, and humility the hard way. These aren’t luxury accessories — they’re battle armor. They’re what protect you when the world, very efficiently and very loudly, tries to drag you into its circus.

At the end of the day, nearly everything you think you own — the job, the house, the accolades, the opinions of others — is rented. Temporary. The only thing you actually own is whether you stayed true to who you are — whether you fought the quiet, ugly battles that no one clapped for.

Living a good life these days isn’t about winning. It’s not about being the loudest, or the richest, or the most-liked. It’s about holding the line. It’s about not surrendering — but also about keeping your mind open without folding your integrity into a paper airplane every time someone disagrees with you.

And no — this isn’t some “Live, Laugh, Love” nonsense I ripped off a cool poster or skimmed in a self-help book. This comes from a lifetime of getting it wrong — repeatedly. Only to finally, stubbornly, start figuring out what actually matters and what doesn’t.

Here’s the rub: I still screw it up on the regular. I’m not handing you a blueprint — I’m handing you a work-in-progress. But the difference is, now I know it when I mess up. And I keep working at maintaining the few things I know are worth the fight: peace, integrity, humility.

If mistakes were to be made, I’ve made them. Lessons to be learned? I’ve learned them — well, some of them. The most important thing is, I haven’t been afraid to live.

If I can do it, you can too.

Because at the end of the day, the likes fade, the trophies collect dust, and the noise dies down. All you’re left with is yourself — hope you made good company. Otherwise, it’s gonna be a long, awkward ride to the end.

Vigilance by Another Name

Daily writing prompt
What fears have you overcome and how?

DAILY PROMPT RESPONSE

Fear: My Old Friend Rides Shotgun

You get older and realize you didn’t know a damn thing.

When I was young, fear was the one thing I wasn’t allowed to show. Not in my house, not in the Army, and sure as hell not in front of my family. Fear was the enemy. It was a weakness. It was that voice in your head you learned to silence—or at least pretend you couldn’t hear.

In the Army, fear was treated like a virus. You didn’t talk about it; you didn’t acknowledge it. You locked it down, put on your war face, and moved forward. To hesitate was to risk everything—your mission, your men, your skin. So you learned to shove it deep down somewhere you didn’t have to feel it.

However, the amusing thing is that, while in battle, I realized fear was my friend; it kept me alert. But we didn’t call it fear. We called it vigilance. We used phrases like “Stay Alert, Stay Alive” or the popular one, “Head on a Swivel.” No matter the catchphrase, we learned to understand that fear was a part of the job. But we never said that aloud.

In so many ways, fear gets a bad reputation. It’s been a part of us since the beginning. We need to understand how to use it, just as we do with anything else in life. Fear doesn’t forget. You can pack it away and bury it under years of deployments, promotions, and medals, but it never really goes away. It waits. Patiently.

Fear didn’t vanish when I left the battlefield; it simply found new arenas. When I became a husband and later a father, I thought maybe fear would find a new home somewhere far away from me. After all, what’s scarier—enemy fire or a newborn that won’t sleep for three days? Turns out, fear adapts. It’s just as present when you’re staring at hospital monitors as it is when you’re huddled in a foreign desert waiting for the next move.

All the darkness I’d seen in the world—the villages reduced to rubble, the faces of men who wouldn’t make it home—I wanted to protect my family from it. Shield them from the kind of pain that doesn’t heal, the kind that sticks to your bones. I knew I couldn’t stop the world from being what it is, but I sure as hell wasn’t going to roll over. There’s nothing worse than feeling helpless when the world decides to teach your child a lesson. You want them to grab the world by the horns and kick its ass. When they do something courageous, we applaud them, exhaling because we know it could have gone another way. But you have to trust that the things you taught them will catch hold. They often surprise you because they have been listening all along. And let me tell you, they didn’t make it easy.

Fear stayed with me even as they grew. I swear it’s their job to scare the shit out of you, and they seem to take that job pretty seriously. Like the time, my son decided to jump out of perfectly good airplanes because he “wanted to be all he could be.” I considered banning television in the house. Or when my daughter drove cross-country in a beat-up car with a prayer and a gas card. Every bold move they made had me aging in dog years, and I have the gray hairs to prove it, but damned if I wasn’t proud.

I spent decades pretending I had it all under control. I kept fear on a short leash, convinced that ignoring it was the same thing as mastering it. But no matter how many battles I fought, how many bills I paid, or how many “Dad of the Year” moments I racked up, fear was always there, waiting for a crack in the armor.

It wasn’t until I retired—hung up the uniform, no more missions, no more late-night phone calls, just silence and the old ghosts I’d tried to outrun—that I finally sat still long enough to hear it clearly. Fear wasn’t the enemy. It never was. It was the warning system, the gut check, the part of me that said, “Hey, maybe charging headfirst isn’t always the best plan.”

These days, I no longer fight fear. I listen to it. I don’t let it steer—I’ve still got too much pride for that—but I let it ride along. We’ve made peace, old fear, and I.

Funny thing is, now that I’ve stopped pretending I’m not scared, I’ve never felt braver. Fear, that old companion who kept me vigilant on battlefields and restless nights, still rides with me. Only now, we’re on better terms—I trust it to keep me sharp, and it trusts me to keep moving forward, one step smarter than the man I used to be.

I Thought I Could Fix Everything—Until I Couldn’t

Daily writing prompt
What are you good at?

DAILY PROMPT RESPONSE

I’m good at solving problems—the real ones. The messy, inconvenient, “everything’s-on-fire” kind that show up at 2 a.m. I was that guy—the one you call when it’s all falling apart. And by sunrise, I’d be walking away with a cigarette in one hand and a cup of coffee in the other like nothing happened. Crisis averted. No medals. No meltdown. Just fixed.

Fixing things became my identity. Not in some poetic, savior-complex kind of way—but because someone had to do it. Appliances, busted cars, computers, money problems, broken plans—you name it. I’d lock in and work it until it bent or broke for good. Most people panic in chaos. I get focused.

So naturally, when I asked my family what I’m good at—for a course assignment—they stared at me like I’d just asked them to name all my past lives. Eventually, a few mumbled agreements trickled in. But when it came time to list my flaws? Oh, that list rolled off their tongues like they’d been practicing for a roast. That’s when it hit me—people don’t always see the person holding the whole thing together. They just assume the mess disappears on its own.

And still, amid all that, my stepmom—the queen of unsolicited truth bombs—drops this: “Honey, you can’t fix everything.” I laughed, of course. That’s what people say when they’ve given up too soon, right? When they haven’t stepped back, taken a breath, and tried again from another angle.

But with time, her words started to stick. Not because she was right about everything, but because I started to see the limits of even my best efforts. I realized that every problem has a solution, but I wasn’t the solution to every problem. That stung, but it also freed me. I didn’t have to carry every broken thing. I didn’t have to make everything work.

Still, if there’s a problem with a fix in it, I’ll find it. That’s what I do. I bring logic into chaos, patience into panic, and if the solution exists, I’ll get there. But now I know when to fix, when to walk away, and when to just be present in the wreckage with someone else.

So yeah. What am I good at? I’m good at being the one who shows up when it matters. The calm in the storm. The fixer with a sense of humor and a pretty solid track record. And just enough wisdom now to know when I’m not the answer—and to be okay with that.

The Pain in My Ass I’d Never Trade

Who would you like to talk to soon?

DAILY PROMPT RESPONSE

My stepmom has been a pain in my ass for over forty years. Don’t judge me — the feeling’s mutual, and we both know it. That’s just how we operate. Call it our version of a love language: blunt, sarcastic, no sugarcoating.

When I was younger, I used to wonder what my dad saw in her. Later, after spending enough time dealing with him, I started wondering how she managed to put up with him. She’s one of the toughest women I’ve ever met — sharp-tongued, unfiltered, impossible to rattle.

And if I’m being honest, she’s guided me through some very rough situations over the years. I’ve learned to appreciate her wisdom — the kind that comes from experience, not books. I’m grateful she cares enough to speak up, to give input even when I act like I don’t want it. But she’ll never hear me say that. It’s not what we do.

Her birthday’s coming up, and I plan to surprise her. We’ll end up having one of our signature conversations — no niceties, just raw honesty and sideways affection. My older brother will give me that look he always does, like Can you two not do this right now? And I’ll fire back with my classic Don’t make me punch you glare. He knows better.

What blows my mind is that she’s pushing ninety. Ninety. She’s lived through things I’ve only read about in history books or faked authority on in college essays. And yet she’s still sharp, still fierce, still calling it like she sees it.

That’s her. That’s us. Messy, loud, brutally real — and somehow, it works.

Too Strong for You

PROSE – FOWC & RDP


She wore the veil not to disappear, but to survive.

It wasn’t for tradition, or rebellion. It wasn’t a performance. It was protection.
It was her way of saying: I decide what you get to take from me.

They never handed her chains. They handed her mirrors. Bent ones.
Peer pressure didn’t demand. It seduced. Do what we do. Be what we expect. Not because we said so—but because you’ll be alone if you don’t.

Then secular pressure followed, wrapped in freedom’s clothing.
Be who you are—as long as it’s curated, as long as it looks good, as long as it doesn’t disturb.
Express, but don’t confront. Create, but don’t challenge.
Believe in nothing but your brand.

And for a while, she drifted. Trying to belong. Trying to disappear inside approval.

But inside the silence, something broke open.

“Weak as I am…”

She said it like an admission. But it was the beginning of truth.

Weak—not because she failed, but because she felt.
Because she hadn’t let the world harden her into something hollow.
Because even in survival, she still longed for something more than existing.

Because she can’t change the world, but she control how it molds her.
And she refused to be shaped by fear. She chose to be shaped by memory. By presence.
By scars she didn’t hide.

Stay alive. Keep on fighting.

Some days, she did.
Some days, she didn’t.

Like a fugitive on the run—from becoming unrecognizable to herself.
Carrying the weight of all she’s done—and all that’s been done to her.
She was born from regret, yes. But that regret made her conscious. Aware. Awake.

And still, the questions haunt her:

What is she fighting for?
What is she running from?

The answers shift, day to day.

Sometimes she fights for the quiet.
For the small version of herself she abandoned to survive.
For the right to not have to explain.
For the chance to feel something other than fear.

And yes—there are moments. Moments where escape feels like mercy.

What if she wanted to run? Leave it all.
What if she crumbled, and couldn’t fight anymore?

These thoughts don’t scare her anymore.
They keep her honest.
They remind her that strength isn’t the absence of breaking—
it’s the choice to return to yourself after.

Because at the end of all the noise, all the pretending, all the shrinking and reaching and rebuilding—

She is left with one quiet, unshakable truth:

This is who I really am.

No polish. No filter.
Veiled, but not invisible.
Wounded, but not erased.
Tired, but still reaching.

So when the world looks her way, squinting through its own discomfort, trying to place her in a category, or strip her down to something simpler, something safer—

She doesn’t flinch.

She lifts her gaze and speaks with a voice that carries every weight she never dropped:

“With this tainted soul, in this wicked world…
Am I too strong for you?”

And if the answer is yes—so be it.

She never asked for permission.
She only asked to be real.

The Stuff They Give Up (So the Rest of Us Don’t Have To)

Daily writing prompt
What sacrifices have you made in life?

DAILY PROMPT RESPONSE

Everyone makes sacrifices. That’s just part of being an adult—along with bills, back pain, and pretending to understand how taxes work. But some sacrifices don’t get enough credit. They’re quiet, constant, and totally underappreciated. Let’s start with parents.

Parents: The Masters of Silent Sacrifice

Sure, everyone knows parenting is hard. But it’s not just about surviving diaper blowouts or sitting through 300 replays of Frozen. It’s about the real, behind-the-scenes sacrifices. Like the mom who takes a job she doesn’t love just because it comes with decent health insurance. Or the dad who eats the last two bites of crusty mac and cheese instead of cooking himself dinner—again.

Parents give up more than time and money. They give up peace and privacy. They trade dreams for dental plans. And let’s not forget sleep. You could power a small city on the energy parents lose just trying to get a toddler to bed. It’s not glamorous. No one hands out medals for making it through a meltdown in Target. But these sacrifices shape lives. Quietly. Powerfully.

First Responders: Showing Up When It Counts

Then there are first responders—firefighters, EMTs, police officers—the folks who run toward danger while the rest of us are Googling “how to escape a burning building.” These people give up a lot too.

They miss holidays, birthdays, sleep… you know, all the fun stuff. And what do they get in return? Stress, trauma, and the joy of paperwork. Lots of paperwork. Plus, they carry memories most of us couldn’t handle—gritty, painful, unforgettable moments that stay long after the sirens stop.

And yet, they keep showing up. Not for glory. Not for a gold star. Just because someone has to—and they’ve decided it’ll be them.

The Sacrifices We Don’t See—But Should

Here’s the thing: whether it’s a parent sacrificing their sanity during a four-hour kindergarten play, or a paramedic showing up at 3 a.m. because someone else’s world just fell apart—these acts deserve more than a passing “thanks.” They deserve to be seen. Respected. Remembered.

Because at the end of the day, sacrifice isn’t always some big, dramatic gesture. Most of the time, it’s a thousand small decisions made out of love, duty, or just sheer stubborn commitment to doing what’s right.

And maybe a little caffeine.

How to Fall Apart (and Call It Progress)

Daily writing prompt
What does freedom mean to you?

DAILY PROMPT RESPONSE


A discussion about becoming unraveled, unburdened

What does freedom even mean? It’s like one of those made-up words everyone thinks they understand, but no one actually does. We toss it around in debates, slap it on bumper stickers, or turn it into a hashtag. Then we try to sound deep by asking, “In what sense do you mean — philosophical, political, personal?” But let’s be honest: most of that is just smoke to dodge the real answer. Which is, simply: I don’t have a clue.

We often treat freedom like a buzzword—something we claim, defend, hashtag, or stick on the back of a truck. It’s sold as autonomy, choice, and the sacred right to do whatever we want whenever we want. But real freedom? It’s not that flashy. It’s quieter, more internal, often inconvenient, and much harder to define. You don’t notice it on a billboard, and it won’t trend for long. It might even be harder to see, because it begins not with what we do, but with how we perceive—how we see ourselves, others, and what we think life owes us.

Across spiritual traditions—Buddhism, Taoism, Sufism, Christianity, Judaism, Islam—a pattern emerges: we are not free by default. We’re born into inherited scripts, societal myths, and a mess of cravings, fears, and projections. Most of our lives are spent reacting to things we don’t even understand. It’s like trying to win a board game where the rules are vague, the instructions are missing, and someone keeps changing the goalposts when you’re not looking. No wonder we’re tired.

Freedom, in the deeper sense, isn’t about getting our way. It’s about seeing clearly enough that we’re no longer at the mercy of every craving, trigger, or existential itch. In Buddhism, this means recognizing dukkha (suffering) and its cause, tanhā (craving). Sufism centers on taming the nafs — the unrestrained, insatiable ego. Taoism discusses abandoning the exhausting need to force outcomes and instead moving with the current.

Christianity points us to the idea that freedom comes not through control but through the purification of the heart. “Blessed are the pure in heart, for they shall see God.” Not “they shall win,” not “they shall be promoted,” but see. It’s not exactly the promise of a six-figure salary, but it might be worth more. Judaism and Islam also make it clear that freedom is not about breaking the rules, but living in alignment with something truer and eternal. In other words, you’re not the center of the universe — and that might be the best news you’ll hear all day.

This challenges our cultural obsession with control. As Ishmael shows us, modern civilization has wrapped freedom in the myth of domination. We think freedom means being the boss—of nature, of time, of each other. But domination isn’t freedom. It’s just anxiety in a power suit. The more we try to force the world to match our expectations, the more we suffer when it doesn’t.

And yet, even when we “get it,” the work is anything but linear. Sometimes, the path to freedom involves breaking down. Not the tidy kind of unraveling you read about in memoirs, but the ugly, confusing, no-GPS type of collapse. And oddly enough, that might be necessary. Because falling apart can strip away what was never really you. It can expose what’s underneath the performance, the control, the coping. You meditate one morning and snap at someone by lunch. You let go of a toxic habit, then dream about it for a week.

That’s because fundamental transformation creates cognitive dissonance—the friction between the polished self we’ve been taught to perform and the inconvenient truths trying to surface, like realizing that your definition of success might be making you miserable, or that the life you built isn’t the one you actually want. The system shakes when what we’ve believed can no longer hold up to what we’re beginning to feel. It’s disorienting. But that disorientation is a gift. It’s how the mind makes space for something more honest.

That’s not regression. It’s evidence you’re alive and paying attention — maybe even transforming.

Absolute freedom isn’t being untouchable. It’s being touchable without falling apart. It’s having enough self-awareness to recognize when you’re being hijacked by old stories, and enough stillness to pause before you reenact them. Learning to laugh at your own nonsense is key before it convinces you it’s the voice of God. You don’t destroy the ego; you learn not to take it so seriously.

And here’s the kicker: understanding isn’t the end of the journey—it is the journey. Freedom begins the moment you start to see differently: when the illusion cracks just enough to let in the light, or, just as often, when the darkness teaches you to feel your way through. The dark isn’t the enemy; it’s where the roots grow, where silence speaks, where real seeing begins. Understanding doesn’t guarantee peace but gets you in the room with it. And that, on most days, is freedom enough.

Perhaps today marks the opening of a much deeper conversation—scary, uncomfortable, and sometimes downright mean. A conversation that shakes the foundation of who we think we are, or who we’ve been told to be. It may challenge the ideals we’ve long held sacred. My question is this:

Do we need that kind of disruption to be free?

I know I do. Yeah, I’m scared. I’m frustrated. I’m pissed off. But I also know it’s necessary—because this discomfort is where I grow into the man I actually want to be.

In the Voices of Thousands, We Become One

PROSE – MOONWASHED WEEKLY PROMPT


The sunlight fades. Darkness returns. I wait in the hush, breath held, heart steady. The Keepers stand ahead, already assembled—silent, still, and watchful. In their presence, I feel both small and eternal. Beneath my calm, something stirs—my soul, long quiet, surges suddenly. It’s not noise, not fear. It is truth moving through me like a forgotten rhythm remembered. A tremor rises from the deepest part of who I am, and with it comes a whisper: the light… the call… the quill. These were never external things. They lived within me all along. I had only forgotten how to listen.

In the distance, the sky bends to the horizon’s will. Waves of green light ripple across the dusk like an ancient truth brushing its fingers across the world. The field before me sparkles with dew, each blade of grass a tiny shard of clarity, reflecting the last breath of sunlight. This moment—caught between day and night, between silence and speech—feels sacred. My steed shifts beneath me, sensing the tension in my thoughts. He is anxious, ready. And maybe I am too. But readiness doesn’t feel like confidence. It feels like surrender. I tighten the reins—not to control, but to remind myself that I am here, that I have chosen this.

We ride—not toward victory, but toward purpose. Toward the gathering. Toward those who understand this strange calling to bear words like burdens, and gifts. We are not warriors. We are vessels. We carry stories that are older than we are, stories that ask to be told again, each time a little more fully. We move as one toward the collective, not to be absorbed, but to belong.

Now, surrounded by my brethren, I feel the resonance. Not noise. Harmony. Thousands of voices—not the same but aligned. My own words rise from that shared current, not louder, but clearer. I speak the truth I have wrestled with in the quiet corners of my mind.

Some call the rawness madness. They dismiss it as noise, as rambling. But those of us who live in this tension—we know better. We know that sometimes, madness is just meaning in disguise. That chaos, when held in the right hands, becomes clarity. To those who face the block, I say this: it is not your enemy. It is your mirror.

The block is doubt. Yes. But not the kind that breaks us. It is the kind that slows us down, that makes us ask why before we speak. It is the force that prevents arrogance, that checks ego. Doubt humbles us. It forces us to listen harder, to question deeper, to speak with care. It reminds us that this craft is not about being heard—it is about being understood.

And it is in that pause, that searching, where we grow. The block is not a wall. It is a threshold. When we understand that, it no longer stops us—it transforms us. That understanding, that acceptance, is how the block is shattered.

Maggot Brain: Where Beauty and Despair Collide (and Punch You in the Gut)

TUNAGE – SLS

Funkadelic’s Maggot Brain isn’t just a record — it’s a reckoning. Released in 1971, it captured the psychic temperature of a country unraveling. War abroad, decay at home, distrust in the air, and the so-called counterculture burning out in real time. Maggot Brain took all that noise, that grief, that disillusionment — and turned it into one of the most brutally honest LPs ever pressed.

It wasn’t neat. It wasn’t safe. It was spiritual, political, cynical, funky as hell, and deeply weird — like a sermon preached from the edge of a nervous breakdown.

Maggot Brain captured the attitude of the entire country within a single LP. There was literally a track that spoke for everyone. If you were angry, it had you. If you were confused, it held you. If you just wanted to dance your way through the end times, Funkadelic had you covered. Every track hit a different nerve, and none of them asked permission.

There are songs that groove hard (You and Your Folks, Me and My Folks), others that mock the stupidity of it all (Super Stupid), and ones that crack open a deeper existential dread (Wars of Armageddon). But all of it orbits the title track. Maggot Brain isn’t just the opener. It’s the altar. It’s the cry at the center of the storm.

Eddie Hazel doesn’t play Maggot Brain. He doesn’t even perform it in the traditional sense. He haunts it. Possesses it. Bleeds into it. And once it begins, you don’t get to be a casual listener anymore. You’re drafted. No warning. No warm-up. Just a single, ghost-drenched guitar note that slides into your chest like a whisper you weren’t supposed to hear.

It’s not loud. It’s not fast. It just is. And that’s more terrifying than any distortion pedal at full blast. Hazel creeps in like a rogue spirit — smooth, silent, uninvited — and by the time you realize what’s happening, you’re already in it, stripped of cool and composure, emotionally pantsed.

You don’t get a beat to grab onto. No vocals to decode. Just a guitar screaming in slow motion. It’s like standing in the middle of a storm you can’t see but definitely feel. The grief is palpable. The rage is buried just deep enough to make you nervous. And right when you think you’ve got it figured out, the damn thing shifts and you’re spiraling again. Welcome to Maggot Brain — cognitive dissonance with a six-string.

Because let’s be real: this song shouldn’t work. It’s ten minutes, mostly one instrument. No verse. No chorus. Not even a satisfying drop. But for ten minutes, Eddie Hazel demolishes every “rule” about what music is supposed to be, and you love him for it. Or maybe you hate him for making you love it. Either way, you’re in it.

And no, you don’t walk away saying, “cool solo, bro.” You walk away dazed, like you just remembered a dream you never had. Or like your soul got mugged, politely. This is the kind of music that picks a fight with your expectations and then hugs you while you cry.

I still remember the first time I heard it — in a smoke-filled room full of strangers pretending not to be high. No one talked. No one moved. We were all just… held. Not by the music, exactly, but by whatever was trying to speak through it. We didn’t share a moment. We survived one. And we were better for it, or at least quieter.

Hazel doesn’t “solo.” He confesses, and we are his priests. Every bend, every scream from those strings is a sin laid bare. And by the end of the song, we have no choice but to grant absolution. Not because we’re qualified, but because he earned it. Because whatever he was holding, he handed it to us. And in some strange, sacred transaction, we took it.

His playing doesn’t follow any tidy roadmap. It stumbles through grief and grace, melting down and pulling itself back together like a nervous breakdown that found religion. There are moments where you think he’s going to lose it entirely — and maybe he does. But somehow, that’s the point.

You want to make sense of it, but your brain is two steps behind the whole time. Because it’s pretty and ugly. Gentle and violent. Hopeful and hopeless. Your heart’s trying to lean in while your head’s going, “Are we okay??” That’s the dissonance. That’s the magic. That’s why it hits harder than any perfect pop chorus ever could.

And George Clinton, cosmic genius and probable chaos wizard, gave Hazel just one instruction: “Play like your mother just died.” Which is both tragic and kind of a dick move, but clearly — it worked. What came out wasn’t a song. It was a slow, spiritual detonation. Hazel didn’t perform grief — he offered it. Raw. Untuned. Unfiltered. The kind of thing most of us spend our lives trying not to feel.

The track never resolves. No big finale. No grand crescendo. Just a long fade into silence, like a memory slipping back under the surface. It’s not done with you — it’s just gone. Until the next time you’re reckless enough to press play.

And I wonder: for those ten minutes, did Eddie Hazel serve as a guide to enlightenment?
Not the neat, monk-on-a-mountain kind.
The messier kind. The gut-punch kind.
The kind that grabs you by the heart, shakes something loose, and leaves without saying a word.


Maggot Brain #479 on 2003 list

The Quiet of the Moment

PROSE – 3TC #MM43


The morning began like it had countless times before—but today, it felt different. There was a stillness that lingered just a second longer. A hush in the air that made you listen more closely. The slow fade from darkness to grey had its own rhythm, its own muted pulse. It was that fragile aspect of dawn—neither night nor day—when everything feels suspended, as if the world is holding its breath.

You hear the familiar rush of cars below, life going about its business, unaware of the quiet reverence unfolding above. You step onto the terrace not out of habit, but out of something harder to name. A need, maybe. Or a yearning to be part of something unspoken. You don’t search for a view. You let your gaze fall into the sky, into nothing. Into everything.

Then the sound begins. The piano. Tentative at first, like a thought forming. Fingers move over ivory and black, finding phrases that don’t need words. The melody doesn’t push—it drifts. You close your eyes, and it takes you somewhere. Or perhaps it helps you retrieve something lost in the static of everyday: a gentleness, a memory, a forgotten truth.

You lift your bow, not to perform, but to respond. To join. Your hands move, not with effort but with instinct, the strings vibrating beneath your fingers like a second heartbeat. There’s no audience, no need. Just the sound, the sky, and you.

Then you see her.

She’s there, just below, wrapped in morning light, coffee in hand, eyes somewhere far away. She doesn’t notice you yet. She doesn’t have to. She’s inside the moment too. Something about her stillness makes the entire world feel composed. As if her quiet presence is the final note that makes the music whole.

You watch her for a beat, caught in the beauty of her being, the unforced motion of her simply existing. The way she breathes. The way the steam rises from her cup. How the breeze toys with the loose strand of her hair. It’s ordinary, yet nothing could be more profound.

And in that moment, I understood what beauty and love was—
and it didn’t have a damn thing to do with sex.

You play on. And she listens—without effort, without expectation. Just as you play—without reason, without resistance. The world outside blurs. Time bends. You’re no longer trying to capture the moment. You’re inside it. You are it.

And for once, that’s enough.

Swallowed, then Speak

POETRY – DEFIANCE

What is the moment when I scream into silence?

But I’m silent, really—
no sound, no voice,
just a mouth stretched wide around something too big to name.
My eyes glaze—not with calm, but with shock.
A thin film of disbelief over everything.
My heart races.
I’m wrecked like a tsunami with no quarter,
flung breathless against the shore.

It’s not quiet.
Not truly.
It’s a silence that throbs,
that undresses me,
strips me down to the rawest nerve.

Why?
Am I afraid to speak what I feel?
I push it down until I crack.
Swallow the pain, the misery, the grief—
like that’s what strength is.
As if silence means control.

But inside, it never stops screaming.

I’ve built a prison with no walls.
I’m both prisoner and warden.
Every emotion I swallow—another brick.
My tears, the mortar.
The longer I hold on,
the harder the mortar sets.

Letting go should be simple.
But I can’t.
I won’t.
I have to be strong.
Another brick.

The chains tear into me.
I pull and pull,
begging for clemency I know isn’t coming.
Skin breaks.
Something deeper frays.
Still I pull.
Still I scream.
Another brick.
How did I get here?

I slump into the abyss of agony.
Its waves strangely soft,
almost soothing.
The ghosts of my past wrap around me,
pulling me under.

Is this peace?
Is this what I deserve?

No.

I scream NOOOOO!!!
A final act of defiance.
A rupture in the silence.
A crack in the wall.

I scream again—louder.
Louder than the pain.
Louder than the ghosts.
Louder than everything that told me to stay quiet.

The final word is no longer a whisper.
The silence and I become one.
And we finally—

SPEAK.


The Edge of Becoming: Refusal to Disappear

PROSE – REFLECTION


The light crept in, not with purpose, but inevitability. It pooled over the floorboards in pale streaks, slipped across the rumpled sheets, and found her where she sat—curled in on herself at the edge of the bed like something unfinished. The curtain shifted with a lazy sigh, stirred by the hum of a world already moving without her.

She didn’t move. Just blinked slowly, eyes still heavy. Her hair was a mess—coiled and wild, clinging to the nape of her neck with sweat. The air felt thick, damp from last night’s rain, and carried a faint trace of coffee drifting in from the apartment next door. It reminded her she wasn’t entirely alone in the world—just sealed off from it.

Her phone buzzed on the nightstand. She didn’t look. She already knew the message: “You okay? You were pretty quiet last night.”

She had gone to that rooftop gathering. Smiled on cue. Nodded politely as someone explained a startup idea for the third time. But when the conversation shifted to politics, to “people being too sensitive,” to jokes with teeth she wasn’t supposed to flinch at—she had gone quiet. Not out of agreement. Out of calculation.

It wasn’t fear of confrontation. It was exhaustion.

The kind that seeps into your bones when you’ve spent years editing yourself in real time.

Why can’t you just be easier?

The voice came sharp, cutting through the fog. Familiar. Not hers exactly—but forged in her. It spoke in the tone of her third-grade teacher, the one who called her “bossy” for speaking with certainty. The one who wrote on her report card, “bright, but disruptive.” That was the first time she learned that being loud and being wrong were seen as the same thing.

She had been shrinking ever since. A slow erosion.

And now, this morning, she felt caught between the shrinking and the wanting—wanting to take up space and fearing the cost of it.

You think you’re different? That the rules don’t apply to you?

She flexed her jaw, let the thought sit. The worst part of that voice was how reasonable it sounded. How it wrapped itself in concern. In survival.

Outside the window, a billboard stood tall above the bus stop: a model in spotless white jeans and a tagline in all caps—LIVE YOUR TRUTH™. She almost laughed. As if truth came clean and neatly styled.

Her own truth felt messy. Unmarketable. Like morning breath and ragged nails and questions without answers.

She looked at her hands—real, rough, hers. Last night she had come home and typed a long apology to the group chat. “Sorry I was off. Just tired. Hope I didn’t kill the vibe.”

She hovered over the send button.

Then she didn’t.

Now, she picked up the phone, screen still glowing with the unsent draft. She tapped and held. Delete.

It wasn’t a revolution. Just refusal.

A small, quiet defiance.

She wasn’t whole. There were still bruises beneath her calm, still doubts threading her thoughts. But she was done apologizing for needing more than performance.

The light had shifted again, stronger now. Not demanding. Just there.

She wasn’t sure what came next.

But this—this stillness, this pause, this decision not to disappear—was a start.

Memoirs of Madness: Writing Is the Only Way Through

PROSE – MOONWASHED WEEKLY PROMPT

Mind, body, and spirit—it’s not just a slogan on a t-shirt or a phrase tossed around in self-help books. It’s a lived, gritty process. It doesn’t happen in a straight line. It doesn’t always feel peaceful. It asks to be practiced daily, especially in the moments when we’re coming apart.

When my wife was dying, I was unraveling. There was no calm breath, no quiet meditation that could hold me. The pain was too loud, too sharp. I couldn’t go to the dojo—I knew I might hurt someone. So I turned to the only thing left that didn’t require restraint: writing.

That’s where Memoirs of Madness was born—not from ambition, but necessity. I wrote because if I didn’t, I was going to explode. Writing became my release valve. My attempt to find balance in a world that no longer made sense. It wasn’t polished. It wasn’t composed. But it was honest. It was survival.

Healing doesn’t always look like light. Sometimes it’s just sitting with the darkness long enough to stop being afraid of it. Writing gave me a place to do that. Not to escape pain, but to face it with something steady under my hands—a pen, a page, a place to speak freely.

People like to talk about acceptance, about “new normals,” especially when you’re going through something irreversible. I’ve been told I may never return to the person I was before. And maybe that’s true. But I also know it’s not the whole truth. I know there’s more to me than what’s been broken.

Throughout my life, I’ve encountered teachings I didn’t ask for. Moments of awe, loss, surrender, and grace. I didn’t always understand why they came, but something in me knew not to reject them. Writing became the way I made sense of them. The way I honored them.

It’s not therapy, exactly. It’s more like a mirror. Each word reflects something back at me—something raw, something I need to see. Writing doesn’t heal like medicine. It heals like movement. Like breath after being underwater too long.

Writers tell the truths we were taught to keep quiet. We witness the small miracles—flowers bending to the breeze, the call of a bird we can’t see, the still gaze of an animal watching us. We notice the laughter of children that vibrates with something pure and untouchable. We let it all into our bones. But writing is how we let it back out. How we stay connected—not digitally, but spiritually, viscerally.

Every sentence I write is a thread that connects me to the person I’ve always been beneath the layers of grief, anger, and expectation. Not the old self. Not the broken self. But the essential one. The one that endures.

I once asked: Who’s smarter—the adult or the infant? Predictably, everyone said the adult. When I pressed them, they said the child doesn’t know anything. But I disagreed. I said the infant. They laughed, of course. All but one. That one asked me, “Why?”

“Because the infant sees everything,” I said. “They feel everything. They haven’t learned to numb themselves yet. They haven’t picked up the habit of pretending. They are unfiltered truth.”

That’s what writing brings me back to. That clarity. That honesty. That wholeness before the world taught us to break ourselves into pieces.

Healing through writing isn’t a return to what was. It’s a return to what’s real. And sometimes, that’s more than enough.


Author’s Note:

I sat looking at the challenge image, thinking about the beauty of that moment frozen in time. I found myself wondering how to capture something like that in words. Lately, I’ve been studying Buddhism—not because I want to become a Buddhist, but because I’m wise enough to know that truth can’t be found with a closed mind.

Next thing I knew, this piece came through me.

It’s not all I have to say on the subject, but it’s a beginning.

Thanks, Eugi.

What My Mother Taught Me, What My Family Gave Me

Daily writing prompt
Describe a positive thing a family member has done for you.

DAILY PROMPT RESPONSE

“Do as I say, not as I do,” the classic parental phrase, never touched my mother’s lips. However, “Because I said so,” not only repeated — it seemed like it should be on a plaque above the door. I even used it with my children, and they used it with theirs. However, this isn’t the most important lesson she gave me. What she demonstrated my entire life is how to be steady, even in the most challenging situations life has to offer.

She raised me by herself, so every bump, scrape, and broken bone — she was steady. Honestly, I don’t know how she did it. I remember being on the verge of losing it with my own kids, and I had a wife to back me up. To do it all alone? I don’t have the words.

That steadiness she showed me has served me well throughout my entire life. No matter what, I stay steady. I might be pissed off while I’m doing it — that trait definitely comes from my father. He had two modes: super cool or absolute death. Nothing in between. He kept people guessing because you never knew how he’d react. People say I do that too. I always swore I’d never be anything like him… well, oops.

It’s said that in life you have two families: the one you’re born into and the one you choose. My mother gave me the tools to build both. Her steadiness became my anchor, and whether I was dealing with work, parenting, or just the everyday chaos of life, I leaned on what she taught me — stay calm, handle your business, don’t fall apart.

And yeah, maybe I inherited some of my dad’s unpredictability too. But thanks to her, the foundation underneath is solid. That balance — between calm and chaos, between knowing when to hold it together and when to let it fly — that’s something I’ve carried into every relationship I’ve built, chosen or otherwise.

My chosen family has shown up for me in ways I never could’ve imagined. I’m truly blessed to have them in my life. Like all my family, they’ve been incredibly patient with me. I can be a lot sometimes — I know that. But they hang in there.

The challenges in life never really stop coming. But when you’ve got people who stick with you, who steady you, who love you even when you’re not at your best — you can get through anything.

In life, we have two families: the one we’re born into and the one we choose. I’m grateful for both.

Why “Sometimes It Snows in April” Still Hurts So Good

CHALLENGE RESPONSE – MMB

One of my nephews stopped to visit. We talked about philosophy, music, and a bunch of other things. Almost like he knew I needed to get out of my own head for a moment and be reminded of something that’s always been soothing—music.
After he had left, I plugged in the headphones and got to work.


Prince’s music has left a mark on humanity.
However, the music I enjoyed the most was songs seldom played on the radio—the tracks only discussed quietly among the fans who kept searching for the ones that touched them deepest.

For me, “Sometimes It Snows in April” is one of those songs.

It’s not built for the charts. No booming drums or flashy guitar solos. Just a delicate piano, soft guitar, and Prince’s voice—fragile, almost whispering. It’s stripped down in a way that makes you sit still. Makes you feel.

The song was part of the Parade album in 1986, which doubled as the soundtrack to Under the Cherry Moon. Prince played Christopher Tracy in the film—a charming romantic who dies too soon. The song is what comes after: mourning, confusion, and the quiet heartbreak of losing someone who wasn’t supposed to be gone yet.

And Prince didn’t try to clean it up. He kept the raw demo. You can hear creaking chairs and fingers sliding on strings. Those imperfections? They’re what make it real.

The lyrics hit like a conversation you didn’t want to have but needed:
“Sometimes it snows in April / Sometimes I feel so bad, so bad.”
Simple words, but when Prince sings them, they carry weight. It’s not performance—it’s confession.

Then came April 21, 2016. Prince passed away. Suddenly, a song about losing someone too soon became eerily personal. It was recorded in April. He died in April. And just like that, it sounded like he’d written his own farewell without knowing it.

And here’s the part that always gets me—I often wonder why we don’t truly appreciate an artist until after their transition.
Why do we wait?
Why do the tributes flood in only once they’re gone?
It’s a question that’s never been answered—at least not a good one.

Maybe it’s human nature. Maybe we think there’ll always be time. Maybe we don’t realize what someone gave us until we can’t get more of it.

With Prince, we had a genius in real-time. But songs like “Sometimes It Snows in April” remind us that his deepest gifts weren’t always the loudest. They were the quiet truths tucked in between the hits—the kind you don’t hear until you’re really listening.

“Sometimes It Snows in April” isn’t just about death. It’s about love, memory, and the strange ache of time. It’s about the moments we don’t talk about much—but feel the deepest.

And that’s why it still hurts. In the best kind of way.


Things We Couldn’t Say, But That’s the Job

PROSE – MOONWASHED WEEKLY PROMPT


“Duty is what we carry in silence, long after the reasons stop making sense.”

They said, Be all you can be, and we believed them. But we didn’t know at what cost.

There is a line—not drawn, but implied. A hush between steps, a rule never spoken aloud but lived as law. It was my job to hold the line. To guard it. Uphold it. Even on the days I couldn’t see it. Even when I wasn’t sure it was ever really there.

We lied to everyone that mattered. Spoke in half-truths, offered polished answers to unspoken questions. And over time, the lies started to sound like loyalty. We even convinced ourselves. Still—we held the line. We sacrificed everything for it. Time. Peace. Parts of ourselves no apology will ever retrieve. But we believed our sacrifices had meaning. And maybe they did. Maybe meaning isn’t always clean.

There were things we couldn’t say—not because we didn’t want to, but because the job required silence. Duty demanded presence, not explanation. We chose service over clarity. Responsibility over release. That’s what no one tells you: sometimes loyalty means carrying the truth quietly so others don’t have to.

When the dust settled, we tried to find something to hold on to—something we could trust, something true, something pure. Not perfect. Just real. Something that wouldn’t dissolve when we stopped performing.

And yes—we sometimes lived in the dark. Operated in shadows. Did things we could never speak of. Things people will never know. But there was always a light. A flicker. A guide, buried deep, pulling us back. Even when we wandered, even when we hardened. Some of our paths were rockier than others, but still—there was hope. Always hope.

I traced the curve of the line out of habit, out of fear, out of love for something I couldn’t name anymore. The line is not a fence. It’s a suggestion, soft as a breath on glass, sharp as memory. You learn to shape yourself around it—to fold your hunger, to tailor your voice. To make small beautiful, and still wonder why it feels like vanishing.

Some days, it glows. Other days, it disappears, but you still feel it—in the pause before truth, in the way your shoulders remember how to shrink. Still, I held it. With both hands. Tired hands. Loyal hands.

And then one day, without rebellion, without even deciding, I stepped. Nothing broke. No thunder. No light. Just space. Quiet and wide. I waited for collapse. It didn’t come. The air was different here. Not sweeter, not easier—just honest. There was wind, and with it, direction.

I looked back. The line was still there, but fainter now, as if it never meant to stay. And I understood: it was never a barrier, only a shadow cast by belief. And belief, like shadow, can shift with the sun.

We did what we thought was right. We held the line, lived in the shadows, and told the stories people needed to hear. And through it all, we tried to provide hope—while quietly, desperately, trying to hold onto our own.

Covid-19: When the Shit Got Real

Daily writing prompt
How have you adapted to the changes brought on by the Covid-19 pandemic?

DAILY PROMPT RESPONSE

Remember when “unprecedented times” became everyone’s favorite phrase? A true statement for the memories of most of the world’s inhabitants, but it still got on my nerves. I held my breath, waiting for someone to throw in the word surreal and say something like, “It’s so surreal, these are unprecedented times.” I swear, I would’ve walked away screaming as someone gently muttered, “Poor fella, everyone’s so overwhelmed.”

So—real talk: How did you adapt to the chaos Covid-19 dropped into our lives?
Did you start baking sourdough? Rethink your entire career? Form a codependent relationship with your couch? Go over your data plan because Netflix, RPGs, and Zoom somehow became a lifestyle?
Grow a beard that now has its own personality? (How’s that going, by the way?) Man, that time produced some truly unfortunate facial hair. Mine looked like a depressed squirrel had taken up residence on my face for a solid month. Eventually, it evened out—but the trauma lingers.

For me, my home became my fortress of solitude—equal parts sanctuary, bunker, and blanket fort. I was lucky: my stepmother, who lived through WWII, told me to stock up on essentials before the lockdown. And I listened.

The provisions—dry goods, paper products, all the basics you don’t think about until they vanish—were stacked neatly and inventoried like I was prepping for the end times. All of it sat on those hideous, industrial metal shelves that belong in basements or crime scenes, not in the middle of a living room.

But they got the job done. Ugly, but reliable. Kind of like the year itself.

I still can’t believe I actually listened, but it made all the difference. It was like the world we knew vanished before our eyes. People became mean and rude for what seemed like no reason.

But looking back, I think it was fear. Everyone just wanted something—anything—they could control. A place that felt safe.

While the world panicked under a double pandemic—Covid, that beast right there in your face that you had no idea which way it would attack, and Hysteria, the silent rogue creeping in from the shadows—I stayed still, battling my own fears.

Even though I was stocked, prepared, trained—it only provided the illusion of calm. A false sense of control.

I knew it. But I leaned on it anyway.

Because sometimes pretending you’re okay is the only way to survive long enough to actually be okay.

But I’ve been here before—in a different kind of war.

In battle, I was surrounded by people who didn’t just know how to survive. We knew what it took to live—no matter how damn hard it got.

That kind of clarity doesn’t leave you. It changes how you move through silence, how you handle fear, how you hold yourself when no one else is watching.

And because of the kind of isolation that comes with PTSD, I didn’t mind being cut off from people. If anything, it gave me space to finally look at my life without distraction.

I realized medication couldn’t fix everything. I had to put in the work. I had to face the demons—even when it felt like I was the demon.

It’s wild, the stories we tell ourselves about what happened to us. Over time, they twist. They shape how we react, instead of letting us respond.

I saw people pretend they were fine—but you could see the cracks.

You offer to help, because you know that darkness. You’ve walked alone in it. And you don’t want anyone else to be there if they’re not ready.

But the rub?

Sometimes, ready or not, you have to walk it anyway.

We’ve made strides in breaking the stigma around mental health. But no one wants to admit they need help—because no one wants to feel different. Or maybe the better word is broken.

But here’s the truth:

It’s okay to be broken. Everyone is. Some more, some less—but broken just the same.

And so we cope. We sip something, cry in the car, buy stuff we don’t need, gamble what we shouldn’t, scroll endlessly, smile when it’s easier than explaining.

All of it—just trying to hold the pieces together.

The world is big. So vast. And we are connected in so many different ways.

So I have to ask—why do we live it so small?

Speak your truth. As Uncle Walt said: sound your barbaric yawp over the rooftops of the world.

You never know when your words will reach someone at just the right moment—when they need it most—to begin to heal.

We are not alone.


Still Flying

Daily writing prompt
When you were five, what did you want to be when you grew up?

DAILY PROMPT RESPONSE

When you’re five, everything feels big.
The world, your dreams, your backpack.

But as you get older, you can’t always hold onto things without a little help.

That’s what happened when I found it—
a flash of memory caught in an old photo,
a school project that somehow survived.
Battered, scarred, but solid.
Like the dreams taped inside it.

I just wanted to fly.
I couldn’t explain why, not then.
I just did.

To see the world.
The wonders from our primers,
the postcard places that looked too perfect to be real.

Maybe I’d discover new lands,
find cool toys, read comics in French.
Were mummies scary? I needed to know.

Was riding a motorcycle as cool as it looked in the movies?
Could I jump cars like Evel Knievel?
Would I one day ride with a girl on the back,
smiling like it was the best thing ever?

I knew I wasn’t old enough for that part.
Maybe when I get big.

Would I be able to sing and dance?
Be cool like Elvis?
Tough like G.I. Joe?
Stretch like Stretch Armstrong?
Or maybe I’d just build the wild stuff I made with my Legos.

But mostly…
Mostly, I wanted to make my mom proud.

And now—
I did fly.

France, Italy, Spain, Japan—majestic in ways no book ever captured.
There’s nothing like flying over treetops with the chopper doors open.
Heart racing.
Then pounding.
Blood surging through my veins.
I felt something I still can’t describe with words.

I never jumped cars,
but I had that girl on the back.
Her arms around me,
her heartbeat against mine,
that sharp little yelp when things got wild.
Yeah, that was something.

I don’t sing, but boy, did I dance.
And when I stopped… I got fat.

Some say I was tougher than G.I. Joe.
And somehow, my influence stretched across the globe.
But no one will ever know my name.

What I remember most—
Mom’s smile as she talked about “the grands,”
each one certain they were her favorite.
Each one knowing they were loved.

As for me…
Did I make her proud?

God, I hope so.

Random Fiction – 02212025

FICTION

When you’re young, you wander through life with a carefree attitude, convinced that nothing tragic will ever befall you. It’s not that you think you’re made of steel; it’s just that misfortune always seems to strike elsewhere, affecting other people. You know these people—your classmates who sit a few rows ahead in math, friends who share secrets during recess, rivals who challenge you in sports, and those vaguely familiar faces passing in the school hallway whose names always escape you. “Who is that?” You recognize them; they might live across the street or next door, but their names never stick. You catch wind of their troubles in hushed conversations over cafeteria trays or notice the signs—a bruise blooming under an eye or a sudden empty desk where someone used to sit. But you? You’re shielded by an invisible armor. Untouchable. Until one day, that armor cracks, and the reality that you’re just as vulnerable as everyone else comes crashing down.

As a guy growing up, you were conditioned to believe the worst thing you could be called was a wimp or a pussy. Those words stung like a slap to the face. But the worst of all was “pansy.” It technically meant the same thing, yet it carried a unique venom, like an elite-tier insult that could ignite a brawl. They were fighting words, as the old-timers would say. I often imagined a secret list of such words that, when uttered, left you with no choice but to unleash the rage pent up inside the beast within us all, a primal code of manhood handed down through the ages by our Neanderthal ancestors. The rationale behind it was nonexistent—nonsensical, absurd, or downright foolish didn’t even begin to cover it. I even went so far as to ask friends and acquaintances, hoping to uncover this mythical list’s existence, but they just gave me strange looks as if I was the odd one out. “Weirdo.” There’s another term I’m certain once ranked high on that clandestine list.

If there was one thing certain to amplify male foolishness, it was the presence of a girl. You might assume it would be the confident ones with a smooth stride and an easy grin. But you’d be mistaken. It was simply the presence of any female. Something about her steady, evaluating gaze seemed to flick a switch in our lizard brains. Suddenly, we were all posturing like peacocks, vying for attention as if auditioning for the role of “Alpha Male #2” in a poorly scripted high school drama.

“Cut…cut, cut, cut…” the director’s voice echoed through the set, slicing through our bravado. He rose from his worn director’s chair with an exasperated sigh, his footsteps heavy as he approached. He muttered incoherently, his brows furrowing in frustration. Turning abruptly, he addressed a bewildered production assistant who appeared as if they had stumbled onto the wrong set altogether. “It’s missing… I don’t know,” he said, rubbing his temple as if the motion might conjure clarity from the chaos in his mind. The PA shrugged, their confusion mirroring his own.

“More, you know? More,” he declared, fixing his gaze on you with an intensity that suggested the simple word held the universe’s mysteries. It might, who knows? Because at that moment, you felt the weight of impending humiliation hanging over you like a storm cloud, threatening to unleash if you failed to decipher this cryptic instruction. So you reset, ready to reenact the scene with exaggerated bravado and clumsy confidence. A muscular guy, his shirt straining against bulging biceps, lunged forward to take a swing at a smaller guy. The smaller one stood his ground, fists clenched and eyes steely—not because he had faith in his victory, but because maintaining dignity in defeat was preferable to being labeled a pansy. Who needs self-preservation when fragile masculinity whispers its deceitful promises of status and respect in your ear?

The worst beating I ever took wasn’t even for something I did. And that, frankly, was offensive. I was the kind of kid who had done plenty to earn a few ass-kickings, but this one? This was charity work.

Susan Randle—radiant in a way that made heads turn in every hallway—sat beside me in the darkened movie theater. During what she half-jokingly called our “date” (really just two people sharing a row while an action film played), she eyed me with a mischievous smirk and accused me of being gay simply because I hesitated when she leaned over, voice low and daring, to ask if I wanted to “do it.” The dim light flickering over her face caught the earnest sparkle in her eyes before she suddenly closed the distance and pressed her lips against mine. In that charged moment, the unwritten, yet unanimously understood rule against “unsanctioned sugar”—the secret code dictating who could kiss whom—reared its head. No one ever seemed to grant an exception, whether you were a girl or a guy. And here I was, trapped between the dreaded labels: on one end lay the desperate horndog willing to prove his manhood at every twist, and on the other, the discredited possibility of being gay. I wasn’t interested in becoming just another name on her ever-growing list or dealing with the fallout of shattering her carefully constructed illusion of desirability. When a boy disrupted that illusion, the consequences were swift and ruthless.

That catalog wasn’t a myth—it was as real as the whispered rankings that circulated among us. It wasn’t enough to simply admire the “right” girl; if you dared to look away or, heaven forbid, question the unspoken challenges, your name was scrawled in the ledger of sins. Failed to laugh at the jokes delivered with just the right touch of irony, dress in conforming denim and sneakers, or walk with that practiced swagger? Sure enough, it was marked on the list.

My reluctance to follow these unwritten rules quickly made me a target. Over the following weeks, a series of meticulously scheduled beatings forced me to confront the cruel reality of teenage hierarchies. After school, I would find myself cornered in the deserted back lot behind the gym, where a group of boys awaited with grim determination. They’d shout derogatory names—“fairy boy” and a particular favorite, “pirate,” a crude truncation of “butt pirate”—words spat out with the casual cruelty of a rehearsed routine. Each blow landed with precision, and amid the sting and shock, I discovered a perverse sort of order; they made sure I wasn’t crippled for good. I clutched my prized 96 mph fastball as if it were a lifeline and leaned into my natural left-handed stance, determined to keep my place on the team even if I was labeled a “fairy boy” behind closed doors.

By the time the school year drew to a close, the beatings ceased as if a final judgment had been passed in some bizarre, secret rite of passage. One by one, the bullies patted me on the back with a mixture of grudging admiration and hollow platitudes, congratulating me on having “taken it like a man.” It was as if surviving their collective assault were the final exam in a twisted curriculum of manhood. They’d shrug and say, “It wasn’t personal. It was just something that needed doing.” To them, such senseless violence was nothing short of an honorable tradition—a sacred duty executed without a shred of genuine empathy.

That summer, I found brief refuge away from the tyranny of high school corridors with my father in Northern California. He was a truck driver, his bronzed, weathered hands as familiar with the hum of diesel engines as he was with the hard lines of a life lived outdoors, where emotions were as heavy as the cargo he hauled. My parents’ origins were a collage of chance encounters: they’d originally met at a sultry George Benson concert in the Midwest, where the guitar licks sultry under a neon haze had paved the way for something unexpected. Within nine months of that chance meeting, I came into the picture—a living reminder of their brief yet potent infatuation. They had the wisdom to avoid the charade of forced domesticity; soon after, my mom returned east while my dad continued chasing horizons out west. Mysterious fragments of half-truths and secrets that always belong to a larger narrative are as American as elitism and Chevrolets and need no full explanation.


I used the prompts listed below in this bit of flash fiction

RDP – beast

Fandango – FWOC – Date

Song Lyric Sunday – 011152025

MINI BIO – SLS

Immersing myself in the musical offerings of my fellow melody enthusiasts has been an absolute delight. Each shared track opened new doors, introducing me to artists I’d never encountered and fresh interpretations of beloved classics. The experience was a powerful reminder of music’s eternal nature and remarkable ability to mend the soul. As I pondered my contribution to this musical exchange, I drew blanks beyond the familiar territory of standards. Rather than force a conventional choice, I ventured into uncharted waters. Taking a bold step away from my usual selections, I dove deep into my carefully curated blues collection – a genre I rarely explore in these challenges. What I discovered there was nothing short of magical – a hidden treasure patiently waiting for its moment to shine. Like a dusty gem catching the light for the first time, this blues piece emerged from the depths of my collection, ready to share its brilliance.


Let me share with you this incredible musical journey that starts with “Work with Me, Annie,” a deliciously cheeky rhythm and blues gem that burst onto the scene in 1954. Hank Ballard and The Midnighters crafted this irresistible tune with its playful winks and nudges, wrapped in an infectious melody that just makes you want to move. The song’s magic lies in its teasing nature – never crossing the line but dancing right up to it with a mischievous grin.

But here’s where my musical adventure takes an exciting turn. While exploring the blues rabbit hole, I stumbled upon Snooky Pryor’s take on this classic from his 1999 album “Shake My Hand.” Oh, what a discovery! Pryor takes this already spicy number and adds his own special sauce – that soul-stirring harmonica of his weaves through the melody like a river of pure blues feeling. He doesn’t just cover the song; he reimagines it, breathing new life into those suggestive lyrics with his raw, authentic blues voice while his harmonica tells stories of its own.

It’s like finding a cherished vintage photograph that’s been lovingly restored and enhanced, keeping all its original charm while adding new layers of depth and character. Pryor’s version is a beautiful testament to how great music can evolve while staying true to its roots, creating something that feels both wonderfully familiar and excitingly fresh.


Lyrics:

Song by Hank Ballard

(guitar intro)

(Oooh!)
Work with me, Annie
(a-um, a-um, a-um, a-um)
Work with me, Annie
Ooo-wee!
Work with me, Annie
Work with me, Annie

Work with me, Ann-ie-e
Let’s get it while the gettin’ is good

(So good, so good, so good, so good)

Annie, please don’t cheat
(va-oom, va-oom, va-oom, va-oom)
Give me all my meat (ooo!)
Ooo-hoo-wee
So good to me

Work with me Ann-ie-e
Now, let’s get it while the gettin’ is good

(So good, so good, so good, so good)

A-ooo, my-ooo
My-ooo-ooo-wee
Annie, oh how you thrill me
Make my head go round and round
And all my love come dow-ow-own
(Ooo!)

Work with me, Annie
(a-um, a-um, a-um, a-um)
Work with me, Annie
Don’t be ‘shamed
To work with me, Annie
Call my name
Work with me, Annie

A-work with me, Ann-ie-e
Let’s get it while the gettin’ is good

(So good, so good, so good, so good)

So Good!

(guitar & instrumental)

Oh, our hot lips kissing
(a-um, a-um, a-um, a-um)
Girl, I’ll beg mercy
Oh, hugging and more teasing
Don’t want no freezing

A-work with me, Ann-ie-e
Let’s get it while the gettin’ is good

(So good, so good, so good, so good)

Ooo-ooo
Umm-mmm-mmm
Ooo-ooo-ooo

FADES

Ooo-ooo-ooo-ooo.


While treasure hunting in my blues archive, something magical happened – you know how music just grabs you sometimes? There I was, ready to wrap things up, when the blues spirits themselves seemed to whisper, “Hold up now, we’ve got more stories to tell!” And just like that, this hypnotic groove reached out and caught me, channeling the spirit of the legendary John Lee Hooker himself. That unmistakable rhythm, that raw, pulsing energy – it was impossible to resist.

And I wasn’t the only one feeling it! There was Guppy, my faithful furry companion, already swaying to the beat. In a moment of pure joy, I reached for her paws, and we shared this impromptu dance party. Reality (and our respective ages) quickly reminded us to take a seat, but that groove? Oh, it wasn’t letting go! So there we were, two old souls – me in my trusty chair, Guppy on her favorite pillow – still caught up in the rhythm, still moving and grooving, still feeling that blues magic work its way through our bones.

You know those perfect little moments when music just takes over, and age becomes just a number? This was one of those precious times when the blues reached out and reminded us that you’re never too old to feel the rhythm, never too dignified to let loose and wiggle along with the beat. Guppy and I might not be spring chickens anymore, but in that moment, we were timeless dancers in our own little blues club.


Let me tell you about this absolute gem I uncovered – “Got to Have Money” by Luther “Guitar Junior” Johnson. Talk about finding the perfect blues treasure! This piece just oozes that authentic Chicago blues spirit, the kind that grabs you by the soul and doesn’t let go. Johnson doesn’t just play the blues; he lives and breathes it through every note, every guitar lick, every word that flows from his lips.

You know those songs that just tell it like it is? This is one of those honest-to-goodness truth-tellers. Johnson wraps his gritty, soulful voice around a story we all know too well – that endless dance with the almighty dollar. But it’s not just about the message; it’s how he delivers it. Those guitar riffs? Pure magic! They weave through the song like a conversation, sometimes whispering, sometimes crying out, but always speaking straight to the heart.

And that groove! Oh my goodness, that groove! It’s the kind that gets under your skin and makes your feet move whether you want them to or not. Johnson has this incredible way of taking something as universal as money troubles and turning it into this beautiful, moving piece of art that makes you feel less alone in your struggles. It’s like he’s sitting right there with you, nodding his head and saying, “Yeah, I’ve been there too, friend.”

This is exactly why I love diving into these blues archives – you never know when you’ll surface with a piece that speaks such raw truth while making your spirit dance at the same time.


Lyrics:

Yes, a little drive by upon the hill
And this is where It begin to start
Mama told Papa, said “Pack up son!”
“We gonna leave this sow land again”


I was just a little bitty boy
′Bout the age of five
Too much work
Not enough money
This what it’s all about


Got to have money
Got to have some money, y′all
Got to have money
Got to have some money, y’all


Muddy Waters got money
Lightnin’ Hopkins got it too
Tyrone got money
Want me some money too


Got to have money
Can′t get along without it
Got to have some money
Can′t get along without it


I used to have you water
15 bottles
For 15 cents a day
Shame a boy my age
Worked so hard everyday


But now I’m grown
I′m on my own
And this I want you to know
If you want me to work for you, baby
You got to give me big dough


‘Cause I got to have money
Got to have money, y′all
Can’t get along without it
Got to have money, y′all


They say money is a sign for sympathy
The root of all evil
If this is what money really is
Call the Doctor ’cause I got a fever

I got to have money
Got to have money, y’all
Can′t get along without it
Got to have money, y′all

Got to have some money
Got to have some money
I got to have some money


Writer(s): John T Williams

Here is the link to the challenge. Thanks Jim for hosting I had blast with one.

Song Lyric Sunday – Children and Families

CHALLENGE RESPONSE – SLS


Nothing More

“Fade In, Fade Out” by Nothing More is a deeply emotional and introspective song that explores the universal themes of time, legacy, and the cyclical nature of life. Released as part of their album “The Stories We Tell Ourselves” (2017), the song delves into the relationship between generations, specifically focusing on the bond between a parent and child. Through its poignant lyrics, “Fade In, Fade Out” reflects on the inevitable passage of time, the experience of watching one’s parents age, and the desire to make the most of the moments shared with loved ones.

The song begins with a perspective that captures the essence of watching one’s child grow up, imparting wisdom, and hoping they find their way in life without losing themselves. As it progresses, the narrative shifts to express the child’s perspective—acknowledging the sacrifices made by the parents, the realization of their mortality, and the deep wish to carry forward their legacy. With its haunting refrain, the chorus emphasizes the transient nature of life, urging listeners to cherish their time with loved ones before it’s too late.

Musically, “Fade In, Fade Out” is marked by its dynamic shifts, moving from softer, reflective verses to powerful, emotionally charged choruses, mirroring the emotional depth and complexity of the subject matter. The song is a testament to Nothing More’s ability to weave intricate narratives through their music, offering listeners not just a song, but a profound emotional experience that resonates with the universal human condition of love, loss, and the hope of legacy. To hear this song preformed live adds another layer to it.

LYRICS:

Just the other day I looked at my father
It was the first time I saw he’d grown old
Canyons through his skin and the rivers that made them
Carve the stories I was told

He said
“Son, I have watched you fade in
You will watch me fade out
I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your mark
Hold your head up
Follow your heart
Follow your heart”

Just the other day I stared at the ocean
With every new wave another must go
One day you’ll remember us laughing
One day you’ll remember my passion
One day you’ll have one of your own

And I say
“Son, I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your Mark
Hold your head up
Follow your heart
Follow your heart, follow your heart, follow your heart”

We all get lost sometimes
Trying to find what we’re looking for
We all get lost sometimes
Trying to find what we’re looking for
I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

Go and find your way
Leave me in your wake
Always push through the pain
And don’t run away from change
Never settle
Make your Mark
Hold your head up
Follow your heart
Follow your heart, follow your heart”

When the morning comes and takes me
I promise I have taught you everything that you need
In the night you’ll dream of so many things
But find the ones that bring you life and you’ll find me


Thanks to Jim Adams for hosting and another excellent suggestion by Nancy, aka The Sicilian Storyteller

The Essence of Morning

POETRY – WEEKLY PROMPT #141; RDP – FILM

Slumber releases me as the glow of the serene sun caresses my face.
Let us lay back for a while longer before we have to move.
Gently, I stroke your hair, listening to the city’s awakening commotion
Your head on my chest, your breathing lures me to the edge of slumber

I’m careful not to move, not to wake you

Your head falls to your favorite spot; the space between
my chest and stomach as you pull the blanket tight.
Your breathing shallows; Your sleep deepens
I exhale this one of those moments you see in film.

~thank you for reading~

Desert Moon

POETRY – Memory from ANOTHER TIME

As strangers, we sat there
nervously seeking glances
smiling so hard until our jaws ached

At that moment, nothing was more real to me.
Our hearts, souls, and breathing fell into unison
We were aligned; we were one

Under the Desert Moon

~thank you for reading~

Truth be Told…

Prose – Introspective

Truth be told, it was never about going to some show. It was about seeing your gorgeous smile and feeling those arms wrapped around me. It’s been a long couple of weeks, and they feel so good. I want to scream in the anguish of missing them, missing you, but these lips will never utter a word.

In that moment, I will let my guard down and allow the warmth of you to soothe me.

In that moment, I forget about being cool and allow myself to enjoy the feeling of holding a beautiful woman in my arms. I will be cognizant of the fact that she is allowing herself to be held.

Forgive me for being mushy, but I thought we were past the greasy kid’s stuff, and we were somewhere in the middle of something. I’m not sure where something is, not this, seriously?

Perhaps, we should do what grown folks do?

Grown folks sit down and have a conversation about the things that matter to one another. Whether or not we want to hear what is being said. We sit there and allow each other to voice our concerns until all that remains are long looks and easy smiles.

~thank you for reading~