our lady of the haze

(made in a for-fun manner; some lovecraftian mytho-poetics are great for the snap of spring; it’s not enriched with deeper meanings, or at least, not purposefully so. It’s just some unbridled imagery!) Thank you,João-Maria.

inhabit

This is wholly unintelligible and I do apologise, but I’m at a point in which trying to curate a thought ends up harming more than helping when it comes to composing. I don’t know what path to take besides continuing writing and hoping the problem sorts itself out before long. Thank you (and sorry) for

on Gauguin

I recently joined a Portuguese e-publication where I must compose a poem weekly, and my self-proposed theme was to translate paintings that I favoured throughout my life, which, knowing myself, is a monumental task. I’m not a visual creator in the slightest, but am instead wholesomely auditive; I suffered of poor eyesight from early age,

on atomity

Shame never stays dead for long. Thank you, João-Maria.

maundering relics #2

Little exists in record regarding Telémaco Augusto Santana. From some spotted newspaper publications regarding his work, to some handful of poultry donations made to the parish he inhabited, his name seems almost like a dent in an ancient structure; part of a gestalt of ages, another function of the uniformity of time. A texture, almost,

a yellow perch

No matter how many times finish in failure, I never stop trying to write sensualistic poems. I’m not cut for sensualism, that much is clear, but oh, I truly wish I was. Thank you for reading,João-Maria.

there’s a kingdom of voices

(I’m going to start publishing some “humbler” poems I have stored and continually write; although I’m quite demanding of, if not the quality of the poetics themselves, at least the attempted quality of the posts, as well as their parsimony, I realise that I’ve become quite obsessive with it, which ebbs against me rather than

mum is a leopard (english poetry)

If anyone has been reading me for over a year, you might have detected that the structure of this poem draws much from my older English compositions, such as Emerald Cage and Low Poetics. I wanted to design something that returned to that a bit, and simultaneously, I wanted to write as if I was

(Droplet) – mozambique – (English | Português)

A toy © Gökhan Kayal in Clam Collectors of Maputo Luís Carlos Patraquim lives, but I read him as if he never lived. When I cogitate of his life, I sight odd coppery faces and calcined terrains, the hollowing of plasters in the decrepit walls and fences of Lourenço Marques, a sublimation spawning the vividness

(Memnos II) – A Silence In Which No One Sings

        I’d like to think that, if you made it to this point, you hold the glory that my poem holds not, as you withstood it. I don’t particularly like anything I produce these days, but this one was a delicate endeavor to iron-out. Written over nearly two months, revised hundreds of times, wholesomely deleted