This poem is about the kind of love that feels like exhale after years of holding your breath. I Get to Call You Home is for the person who steadies the world just by standing in it—the one whose laughter softens the hard edges of every day. It’s about finding safety not in walls or places, but in a person. The kind of love that doesn’t need grand declarations to be extraordinary because its power is in its peace. It’s about the simple, staggering miracle of finding your home in someone’s heart—and getting to stay there. 💚

Some poems are written from the centre of survival—the quiet aftermath where you’re trying to remember what it feels like to believe in light again. There Is Still Good in the World? is about that search. It’s about what happens when cruelty tries to shrink your world to the size of your pain, and how—slowly, stubbornly—you begin to find small proofs of beauty again. A loaf of bread rising. A song that still reaches you. A heartbeat that still belongs to you. It’s a question, yes—but one that ends with breath.💚

Some poems come from a place beyond words — from the hollow where endurance turns into silence. You Won (I Think I’m Dying Here) is one of those. It’s about what happens when cruelty becomes a constant presence, when the act of surviving starts to feel like burning. It isn’t a poem of surrender, but of truth — the kind that hurts to name, the kind that lives in the space between fading and fighting.💚

This poem is about the moment cruelty becomes contagious—the way abusers and enablers circle when they sense vulnerability, each taking their bite and calling it righteousness. Blood in the Water uses the metaphor of a feeding frenzy to explore how pain draws predators, and how survival becomes an act of defiance. It’s about what remains after the attack—the bone-deep resilience of someone who refuses to drown. Even when the water runs red, even when everything that can be torn is gone, what’s left still rises to the surface.💚

This poem is about memory—the kind that doesn’t play like a film but lingers like smoke. What I Remember came from the realisation that trauma doesn’t archive moments; it archives sensations. I don’t remember the exact words, the order of events, or the arguments that undid me—but I remember the ache, the confusion, the slow erosion of self. It’s about how narcissistic abuse and coercive control don’t just take your peace; they rewrite your perception. And yet, somehow, in the blur of it all, you survive. You rebuild. You remember yourself, even when you can’t remember what happened. 💚

This poem is a warning disguised as a story. The Corrosive Touch is about the kind of person who ruins quietly—the ones who don’t destroy with fire or fury, but with erosion. It’s about the subtle decay that begins when someone’s charm starts to taste like control, when affection feels like diminishment. Some people don’t burn what they touch—they corrode it, slowly, invisibly, until what’s left no longer remembers its own shine. This poem is for everyone who has mistaken corrosion for love. 💚

This poem explores the nature of evil—not the loud, cinematic kind, but the quiet, deliberate kind that hides behind charisma and imitation. Sinister is a story about what happens when two malignant souls find each other and recognise themselves at last. It’s about the rare, terrible comfort of being understood by someone who shares your darkness, and the devastation that follows when depravity stops feeling lonely. This is not a love story. It’s a mirror held up to the parts of humanity we pretend not to see.💚

This poem is an allegory for the generational theatre of pain—the way dysfunction, cruelty, and control disguise themselves as tradition. The Horror Show is about the performance of harm, the masks we inherit, and the silent rebellion that begins the moment someone dares to step out of the script. It isn’t about any one family—it’s about all of us, about the spectacle of survival that continues until someone finally refuses to perform.💚

This poem was written for every time someone thought they had me figured out before I ever opened my mouth. You’ve Never Met Me is about what happens when you stop letting other people define your story. It’s for anyone who has been underestimated, misjudged, or spoken for—and found strength in the silence that followed. It’s a reminder that perception is not truth, that resilience doesn’t need recognition, and that no amount of hate or assumption can break what has already learned how to endure.💚

There comes a point when holding on becomes its own kind of wound. Unclenched Fists was written for that moment—the one where love and grief blur together, where your hands ache from trying to preserve something that was never yours to keep. It’s about the slow, painful courage of release. The realisation that letting go isn’t failure—it’s freedom. And that sometimes the only way to heal is to open your hands, let the wind take what’s left, and finally feel how light you were meant to be.💚

This poem was written from inside the collapse—from the place where noise becomes pressure and survival becomes ritual. It is not a plea, nor a protest, but a record of erosion: the slow undoing of a person under the weight of intrusion, distortion, and fear. When the air itself turns witness, when safety becomes theoretical, what remains is only the quiet choosing of an ending. This is that quiet.💚

There is a kind of fear that doesn’t end—it simply learns to breathe beside you. The Smallness of Afraid is a poem about living inside that fear: the unending present of being watched, hunted, or harmed, where control is gone and help feels unreachable. It speaks to the way terror remakes the world—how it shrinks vast lives into cautious movements, how even joy becomes an act of survival. This is not the story of what happened after. It’s the story of what it means to still be here, in the thick of it, where light itself turns complicit and breath feels borrowed.💚

This poem was written for the days when fear feels louder than faith, when doubt claws at your ribs and whispers that you have no right to try. Do It Anyway is a rallying cry for every person who has ever looked at their dreams and thought, “Who am I to want this?” It’s a reminder that bravery isn’t the absence of fear—it’s the decision to move through it. Because you’ll never feel ready, and that’s the point. The work that changes you, the leap that transforms you, the art that saves you—all begin when you decide to do it anyway.💚

This poem came from the question of what’s left when everything else is gone—when the scaffolding of identity, comfort, and belonging has been stripped away. We spend so much of life measuring our worth by what we build, earn, or hold onto, forgetting that the truest power isn’t in what we possess—it’s in what remains after loss. What Remains is about that unshakable core. The part of you that endures every ending, outlives every version of who you were supposed to be, and still stands—strong, radiant, and utterly yourself. Because when everything else is gone, you are still here. And that is the most powerful thing of all.💚

There are some poems that aren’t written to be understood—they’re written to make sense of what can’t be said aloud. The Cartography of Unchosen Things is one of those. It drifts through memory and melancholy, tracing the shape of a childhood spent on the edges of belonging. It’s about the weight of being here when you never asked to be, the fragments of love that almost saved you, and the small, stubborn tenderness that survives anyway. It’s a map drawn in sorrow and held together by what still remains.💚

This poem came from the exhaustion that follows long battles—especially the kind that leave you uncertain who you’re fighting anymore. When you’ve lived in survival mode for too long, your nervous system forgets what safety feels like, and everything begins to sound like danger, even love. When Everyone Looks Like the Enemy is about that disorientation—the way constant defence can harden into habit, how fear can make us lash out at the very people trying to help us, and how healing begins the moment we finally put the weapon down.💚

We talk about love as if it’s meant to complete us, but the truest kind of love doesn’t erase the self — it expands it. Your Multitudes and My Multitude Make Us Infinite is a celebration of that expansion: a poem about two complex, ever-evolving souls who see and hold each other in their entirety. It’s about the kind of connection that doesn’t simplify but deepens, where every contradiction is welcomed and every difference adds another star to the shared sky. This is a love poem for the endlessly becoming — for those who believe that real intimacy isn’t about sameness, but about the infinite universe that unfolds between two people who dare to stay curious about each other forever.💚

This poem was born from the realisation that family isn’t defined by blood, but by the choices we make within it. Healing is not hereditary—it’s intentional. I’ve learned that some people inherit pain and choose to pass it on, while others take the same pain and turn it into something new: compassion, accountability, peace. It’s Not Blood is about that choice—the courage to become the one who ends the cycle, and the quiet, radical love it takes to do so.💚

There is a quiet devastation in being the one everyone turns to—especially when no one pauses to ask what it costs. Everything Hurts Where They Wrenched Her Apart is a poem for the women who are always expected to show up. The ones who are needed in every room but never nurtured. The ones who are unraveling silently under the weight of unrelenting demands, still expected to smile through their own undoing. This isn’t about one person—it’s about all of it. All of them. All the ways we’re pulled apart to meet the needs of everyone else, while our own are left unattended. If you’ve ever felt like your very self is being divided into pieces just to keep others whole—this is for you.💚