Blog Archives
A Mix of Emotions
Is There Not a Cause? is a raw and unapologetic collection of poetry, songs, stories, personal reflections, and scenes of life that explore faith, pain, and personal development in a way that leaves the reader feeling raw and alive. What inspired you to write this particular collection of poems?
This collection was initially published in 2021. This re-release has over twenty-five new poems. My inspiration to write this collection came from time and experiences, loss, growth, pain, love, social climate around the world, faith, and more.
How do you approach writing about deeply personal or emotional topics?
I approach it the same way I do most of my pieces. I also do spoken word, so the majority of my poems are written from the perspective of me speaking to an audience or myself. For whatever reason, that makes it easy for me to share and or express deeply personal or emotional topics.
How did you go about organizing the poems in the book? Was there a specific flow or structure you were aiming for?
The beauty of the book is that there is no form or structure. The poems/stories/songs flow almost at its own pace, creating a mix of emotions, thoughts, concerns, and anthems.
How has this poetry book changed you as a writer, or what did you learn about yourself through writing it?
I learned how to truly lock in. This past year was a challenge in many ways. All in all, it made me a better writer, speaker, and performer. Writing this book was a great challenge in not depending so much on rhyming and rhythm. Allowing me to put greater effort into storytelling and free verse.
Author Links: GoodReads | Facebook | X (Twitter) | Website | Amazon
Published in numerous magazines and online, esteemed poet and wordsmith Nathaniel Terrell re-releases his first collection of unapologetically raw and honest reflections. If you are someone who prefers to experience life and savor its moments – sacred, painful, and true – you will find favorites in this collection that you will return to. The works will touch your soul in the way poetry should.
IS THERE NOT A CAUSE? by Nathaniel Terrell is a collection best taken one page at a time and is a collection worth savoring and rereading. Each poem is replete with the wisdom and enlightenment gained from someone who experiences life and savor its moments. His words are sacred, painful, and true, and his works will touch your emotions and will find their way into your soul, just as good poetry should.
This re-release is a powerful debut collection containing songs, stories, personal reflections, and scenes of life, with some new poems highlighting growth and maturity. Written from the perspective of a passionate, creative black man working hard to share his voice with the world, each poem paints a vivid picture of the soul of an artist. It grapples with topics such as life and death, racism, faith, anger, social injustice, division in the nation, and getting up after failure. These poems are meant to encourage and to provoke and desire, and will take you on a journey that starts fast and hard and dives deeply into the human condition.
Contemporary culture seeks to define us and forge our identities. Things are never that black and white. The real human condition is a personal journey through pain and ignorance as we seek hope, inspiration, and enlightenment. Each poem conveys important messages about the capacity to pry open our hearts and be connected with our true nature. His warm, inspirational words will encourage and provoke you to take a journey that will start fast and dive deeper. It’s an invitation to mindful presence where the words and artistic expressions compel you to find peace with yourself and the world.
For more on Nathaniel Terrell’s works, visit him on social media at natej.story or at http://www.natejstory.com.
God’s Saving Grace
Bethesda is a collection of poems that moves through faith, pain, identity, womanhood, and longing with a voice that is raw and unguarded. What inspired you to write this particular collection of poems?
I would have to say that my inspiration came from Christ and the state of the Church. I remember watching someone preach online and the topic of the sermon was John 5: 1-12 in the Bible. As I watched, the name “Bethesda” came to me, and it was in these moments that I knew the title/subject matter of a new collection would be Bethesda. This was back in 2021, and the work was about 4 years in the making. At the time before seeing the sermon, I had been experiencing a dry season and hit a bit of a writer’s block. When the concept for the new work came, the inspiration to write set in, and the drought lifted. Along the way, life happened, and the writing stopped for a little while. There was, however, a time in 2024 when revisiting the work that I had done, and this is when I decided to follow through on compiling the pieces, writing two-thirds of the work to completion. Looking back, I understand that it took me that long to live through the questions I had been carrying. It took time to build the resolve to have the confidence to be honest and forthcoming in the pieces.
I was also inspired by my heroes – those that I know in real life, like my mother, my father, my siblings, my elder cousin, and members of my church community. I was inspired by how they handled pain, discouragement, stagnation, and defeat. Using my own observations about how these folks managed life’s struggles, I was able to paint the picture of a speaker who was a conglomerate of these figures, including myself. This force moved through the pieces on a journey of redemption to liberation. Dr. Maya Angelou’s work, life, and testimonies were also places I frequented during this excavation of soul. I am truly standing on her shoulders as I work to become a better writer and person in this existence. If I can dare to be so unguarded in my work, it is because she paved the way and showed first that there was nothing to fear – that if anything, it was the world that should fear the storm within me.
How did you decide on the themes that run throughout your poetry book?
It was twofold, really. For the most part, in the first drafts of the collection, I just wrote about what was important to me and what I saw being issues in mankind. I turned to sermons that I had attended, in person and online, over the years, as well as to topics/issues that were socially and culturally relevant. I wanted the work to be encompassing, inclusive, and reflective of the journey a person takes when contemplating a walk with Christ in this modern day.
As the narrative builds through the pieces of the work, different themes become apparent in the topics the speaker decides to pursue: themes of wrestling with God, despair, redemption, heartbreak, self-loathing, longing, faith, belief, the dismal state of the world, and God’s saving grace. The middle of the work is dedicated to exposing and fleshing out issues with which the speaker must face a confrontation, like heartbreak and longing. The ending of the work is dedicated to the resolve that comes with the acceptance of God’s saving grace and confrontation.
The messages transferred on a Sunday morning inspired me to be reflective about the current soul condition of mankind, and the urgency communicated, instilled, and awakened within me, inspired the stark honesty in the lines. I wanted the collection to be a gathering place for those who did not quite have it right yet but were still unrelentingly trying. The themes came together on their own, really, as I set out with the intention to have the reader confront themselves in the lines. I knew a transformative collection meant that I had to be vulnerable if I wanted the Lord to shine through my testimonies.
Did you write these poems with a specific audience in mind, or was it a more personal endeavor?
My intention with these poems was to be as inclusive as possible. I wanted to appeal to the heart, soul, and conscience of the reader. The journey was simultaneously a personal endeavor and one that ambitioned the collective, universal heart.
I found that the transformation that I had experienced through confrontation and deconstruction for the
sake of these pieces (and for my own sake, if I’m honest) would be made available to the reader as they
journeyed from the beginning of the work to its end. This made it even more imperative to be honest and
unrelenting because there is a lot at stake: being an example of the power of the Grace of God and
exemplifying the transformative power of faith. I strongly believe that the audience will reveal themselves to be those who are open to letting the Lord into their problem areas and those who are searching for and
genuinely seeking a relationship with the Most High.
Bethesda, this house of Grace built by words, was constructed to be a gathering place for those who find
themselves ill at ease in today’s world order. Under its covering, one may find the opportunity to secure their redemption and begin the process of true liberation. At the crux of Bethesda is a journey to the increased intimacy with God that results from a genuinely contrite heart looking for God. Walking through the shadow of doubt, the reader is a witness to the perils of the world and the bravery of faith that comes as a result of persisting through the questions.
How has this poetry book changed you as a writer, or what did you learn about yourself through writing it?
I really had to fight with myself to believe that the reader would care about the issues I was bringing to light. I had to push myself to be what I requested of the reader: vulnerable. And then came the question of impact: how would the audience be affected?
These battles forced me to come to terms with the power of testimony. Using the example of testimonies I experienced in the Church, I saw firsthand that people may or may not see themselves in my story. The power comes in that somewhere in existence, my act of daring to be true and sharing would take our collective soul to another level of liberation in the current scheme of universal oppression gripping the heart of mankind. I walked so that someone else can run, even if that is just one person, and even if they have never heard of my book(s). It is a testament, testimony, and witness to the Grace of God on a whole other level, and I realized that these are things that matter most to me.
Though I abstracted and amplified certain things in the pieces, I had to evolve to a place where my own journey and past and present and all the things don’t shame me anymore. In full transparency, it’s a journey that I am still on, but I was obedient to the call to model what I saw to have transformative power in the world/Church. Bravery really does look different in the eyes of the brave.
Author Links: GoodReads | Amazon
Rendered from the Biblical porch where the sick, blind, deaf, and ailing were said to have lived and found reprieve, Bethesda frees the reader to a celebration of life, even in the places where it hurts the most. It explores what it means to be whole and moving as well as broken and stuck. Stuck in helplessness. Stuck in mercy. Stuck in hopelessness. It is a journey of the wondering of how one can give birth to the sometimes elusive tongue of healing. Bethesda is the victory of small steps away from the porch of heartbreak, longing, confusion and suffering.
In this barren womb of world order, we the lost, losing, finding and found, are a nation – an army. Take this journey through a fractured mind on the proverbial porch – that gathering place we now call Bethesda.
A Call to Repentance and Renewal
Words for a Wounded World is a striking collection of scriptural poetry that bridges devotion and art, journeying from the foundations of faith to the trials of endurance, calling readers to reflection, repentance, and renewal. What inspired you to write this particular collection of poems?
It all began with a young husband and father named Tucker. He was quietly losing a war few could see—caught in the grip of pornography and desperate for freedom but unsure how to reach it. As I walked with him through this struggle, the Holy Spirit stirred something unexpected in my heart: Write him a poem.
That poem became “Lured: The War for Your Soul.” It wasn’t meant to be creative expression—it was spiritual warfare. Every line was grounded in Scripture, confronting the enemy’s lies, exposing the spiritual battle, and calling Tucker back to the Truth of God’s Word. With the poem, I included companion Scriptures, reflection questions, and a call to repentance and renewal.
Weeks later, Tucker shared that the poem became his lifeline. He carried it with him. He turned to it in moments of temptation. And God used it to remind him that he wasn’t alone—and that freedom is possible through Christ.
After Tucker, the Lord continued placing people on my heart, along with specific burdens and Scriptures for each one. One poem became two, then three… until I realized the Lord wasn’t giving me isolated pieces—He was forming a collection. These became Words for a Wounded World, a book written for every soul wrestling with sin, sorrow, confusion, or spiritual longing, pointing them back to the healing power of God’s Word.
Do you have a favorite poem in the book, and if so, why does it hold special meaning for you?
That’s a tough question and a bit like asking which of your children you love most, (Lol) Each of the sixteen poems carries its own story, its own ministry moment, and its own spiritual burden. They were all born out of real conversations, real struggles, and real breakthroughs.
What makes them especially meaningful to me is how each poem teaches the Word of God in a reverent, compassionate, poetic, and even prophetic way. They are not just poems—they are invitations to encounter Scripture, to hear God’s heart, and to respond to His truth.
How has this poetry book changed you as a writer, or what did you learn about yourself through writing it?
I never set out to write a poetry book, and I certainly never saw myself as a poet. But when you follow the prompting of the Holy Spirit and immerse yourself deeply in God’s Word, you discover that God can do far more through you than you ever imagined.
The process was remarkable. For each poem, the Lord impressed a subject on my heart. I would turn to Scripture—searching, collecting, studying, meditating, wrestling, and praying—until the lines and stanzas began to take shape. After each poem came the reflection questions, journaling prompts, and the prayer prompts.
I didn’t know where any of it was heading until the twelfth poem. That’s when the vision of a full collection began to emerge. By the time the sixteenth poem was written, a four-part structure had taken shape—a structure I didn’t plan, but that God did.
Writing Words for a Wounded World has taught me that God delights in using imperfect people with imperfect words to point others to His perfect Word.
Have you received any feedback from readers that surprised or moved you?
The most meaningful feedback has been how readers are drawn from the poems directly into Scripture. Hearing that a line, a question, or a prayer prompt sent someone diving deeper into God’s Word—that’s the highest encouragement I could receive. The poems were never meant to stand alone; they were meant to be bridges leading people straight to the heart of God.
Author Links: GoodReads | Facebook | Website | Amazon
In this Spirit-led collection, author and Biblical teacher Mark Richard weaves together sixteen Scripture-inspired poems that speak life into dark places. Each poem is grounded in the timeless truth of God’s Word, accompanied by full biblical references, and deep devotional reflection questions-creating a rich three-part encounter with God’s truth.
These “hymn-like” poems were born in real moments of ministry-written for people facing doubt, anxiety, sickness, and sorrow. Now, they are offered to you-to awaken your soul, convict your heart, and strengthen your faith.
Grow, Evolve, and Blossom
Garden Quartz and Paper Flowers is a collection of stories and poems centered around a girl navigating the trauma of abuse and the healing process. Why was this an important book for you to write?
It was important for me to write, Garden Quartz and Paper Flowers as a way to finally close a chapter of my own life. I’ve been writing for as long as I can remember: poetry, music, and short stories but I lost all my original works in a very traumatic incident. That use to haunt me, endlessly.
I don’t know of many stories that tell the tale of resilience, that transcends through time with authentic but healthy coping mechanisms. In this story, the main character Calla recognizes that self-work was required to set her free. For you never have to be your childhood or adulthood circumstances. Those moments will shape you but you should not allow them to break you.
My fondness for precious gemstones and flowers with inspirational meaning were the metaphorical tools necessary to breathe life into this piece. Stones are shaped by their environment. Flowers can weather the storm. Both survive under tough pressure.
What was the biggest challenge you faced in putting together this collection?
My biggest challenge was simply starting. For years, I dwelled on it subconsciously, should I pick up my pen again and recreate what was destroyed. Eventually, I got to a place where I said this is going to be therapeutic for you and it’s time to get it done. My second challenge was struggling with remembering much of what I originally wrote, but once I started to complete the individual pieces one by one, I was able to weave them together into one fluid story. You can delay the inevitable but it’s still has to get done, even when it’s overdue. I also needed to live a little bit longer, to complete this work of art in full circle.
Have you received any feedback from readers that surprised or moved you?
I’ve received a lot of positive feedback on this piece of art. I’m honestly VERY surprised. I didn’t think it would move so many people to connect with it so deeply, especially since it’s a fiction. I know Art imitates life, and I know that some of the things I wrote could align as a lived experience rather than a collection of different occurrences. I just didn’t know it would resonate with some many people.
“Not for the faint of heart,” was the common themed remark. Which to me, shows I planted a seed and I hope it grows. Uncomfort as it relates to knowledge, has always been a sign that I’m headed in the proper direction. I remind myself every day, learn something new, try something different and feel something real.
What is one thing you hope readers take away from Garden Quartz and Paper Flowers?
I want readers to know that it’s okay to feel every emotion in the moment—but it’s not okay to live in the negative ones. We have to find the strength to rise, overcome pain, and to keep pushing forward. It’s not easy, but NOTHING in life is simple. After the all hard work, aches and pains, I promise greatness is waiting on the other side, ready to greet you.
You’re not your past. You’re not even your present. And you’re not even alone. Continue to actively grow, evolve, and blossom into who you’re meant to be. It’s time to do your due diligence. It’s time to rediscover your resilience. It’s time to heal. Let’s do this!
Pain has Transformed me. . .
Step into this immersive garden of ruin and bloom— a memoir told in fragments of memory, poetry, and survival.
This is the story of a girl named Calla, rooted in silence, shaped by shadow, and determined to rise.
Because not all wounds bleed. Not all truths are spoken.
And you never have to become what tried to break you.
An Ever-Opening Poem
In A Wave Without a Shore, you explore both science and soul through the introspective poetry in this second installment of the Entangled Universes Trilogy. What was the biggest challenge you faced in putting together this poetry collection?
Honestly, my writing flows unlike anything I have ever experienced. Since August 2019, I have written 2500 poems, so the challenge is mapping ~200 of them to the eleven chapters in a way that helps elevate the poetry to a “shore our galaxy will only pass by” in our future.
How do you approach writing about deeply personal or emotional topics?
With ease. I am an INFJ personality type with introverted intuition and deep empathy. These topics are like an ocean that I never leave.
How has writing this poetry trilogy changed you as a writer, or what are you learning about yourself through writing it?
My writing has absolutely evolved since I began writing poetry at the start of the global pandemic. It’s almost like six years ago, I had just stepped into this realm, completely unaware of what I was experiencing. I never studied writing poetry; instead I only read poets (Whitman, Hesse, Rimbaud, Hemingway, Milton, Dickerson, Homer, Keats).
I’ve learned that the universe is an ever-opening poem in which our lives are immersed and entangled, almost like the words we use to express it.
Can you give us a glimpse inside the final installment of the Entangled Universes Trilogy? Where will it take readers?
We were born inside a star. Everything that makes up our experience within this universe came from our mother sun, Sol. Here’s an example of how my poetry will resonate in Tides of Light:
The Fragile Silence of Becoming Our Real
We trade light in a dance we were born to make
Your words find mine almost as if they know us
When we met eons past each poem was a song
I’ll know you again, sweet when we’ll sing them.
Flush with our demurs love asks how to be now
When we decide our fates even time plays along
Fragile silences frame thoughts as if we’re alone
When you’re lost remember that light we shared.
I’ve ventured on lonely highlands in search of us
Komorebi shadows taste like a kiss only you gift
Guardian angels perfect our course through time
When you’re ready to dance love, hold my eyes?
Author Links: GoodReads | X (Twitter) | Facebook | Jazz on the Coast | Website | Amazon
Garden Quartz and Paper Flowers
T.L. Garrett’s Garden Quartz & Paper Flowers is a raw and unflinching collection of stories and poems that trace the life of Calla, a girl navigating the deep scars of trauma, abuse, and healing. The book reads like a patchwork of memory. Each chapter a petal torn from her past, revealing a life marked by generational pain, silence, and survival. Garrett writes in a style that blends memoir and fiction, pulling readers into scenes that feel heartbreakingly real. The imagery of flowers, roots, and stones threads through the work, symbolizing growth from ruin and the fragile beauty that comes from endurance.
The writing is heavy with emotion, but there’s a strange softness to it too. A tenderness that lingers even in the ugliest moments. Garrett doesn’t hold back, and it shows. The prose feels like a scream written into poetry. I found myself pausing often, sometimes just to process. There’s a rhythm in her storytelling that’s both jarring and intimate. Her voice feels lived-in, like someone telling a truth they carried for too long. Some passages are uncomfortable to read, not because of how they’re written, but because of how real they are. You can feel the child’s confusion, the teenager’s anger, and the adult’s reckoning all colliding in one soul. It’s unsettling. It’s human.
What struck me most was Garrett’s way of turning pain into purpose. She doesn’t ask for pity. She asks for understanding. The book dives into spiritual themes like healing, intuition, and forgiveness, but never in a way that feels forced. Her honesty feels sacred. I loved how she wove resilience through the narrative like a vine wrapping around broken glass. It’s not a perfect book in a technical sense, but that’s exactly what makes it so powerful. Her writing feels like it’s bleeding onto the page, and yet, there’s beauty in every wound.
Garden Quartz & Paper Flowers isn’t for the faint of heart. It’s for readers who have lived through darkness and clawed their way toward light, or for those who want to understand what that fight looks like. It’s for anyone who believes survival itself is an art form. If you want something real, something that cracks you open and reminds you what it means to be alive, this book is worth every page.
Pages: 258 | ASIN : B0FJ4XM2JL
Write Fully and Freely
Purple Summer, Gray Fall is an eclectic blend of poems ranging from themes of warmth, youth, and desire to introspection, loss, and renewal. What inspired you to write this particular collection of poems?
Thank you! This book began as 1-2 poems and random thoughts I wrote during and after a particularly impactful romance. I didn’t plan for Purple Summer, Gray Fall to become a book, let alone a book that I would publish. Not long after this romance, I went through a huge emotional journey, including and most notably, the start of my writing career. I began writing and unpacking things, which led to more writing. Then, synchronistically, the title Purple Summer, Gray Fall came to me one day. That’s when I knew I had to create a book. This book allowed me to understand and process that time period, learn more about myself, and explore and expand creatively. I realized I had to publish this book because, as an artist, there is nothing more urgent than to share what moves you.
Were there any poets or other writers who influenced your work on this collection?
Absolutely. The late Nikki Giovanni is my favorite poet of all time. The late Toni Morrison is my favorite author, and I’m also a huge fan of poet Marie Howe. Collectively, they have inspired this book as their work is frank and sharp, full of imagery, emotion, connection, and courage. They are a source of strength and commitment for me to write fully and freely. I honestly can’t do justice to describe how influential these three women are to my work as a writer, but I’m glad I can pay homage to them here.
How do you approach writing about deeply personal or emotional topics?
It wasn’t easy initially, but it was much harder for me not to go deep with this book. Purple Summer, Gray Fall could have had a vastly different tone. I scrapped almost half of the original poems because they were ok and fit, but they didn’t feel authentic, and they didn’t make me proud. I made a choice and decided to write free of external pressure, and once I did, the rest of the book came together pretty quickly. It was very exciting. I knew the excitement and pride I felt from writing from a place of authenticity was and is the reason why I am a writer. I’m not aiming to be controversial or deeply personal, but I’m sticking to my decision to write for me and no one else, letting whatever needs to come out be free to do so.
Can we look forward to more work from you soon? What are you currently working on?
Absolutely. Poetry is my favorite genre, and I’m working on my 2nd book now, no title available! I’ll share that the collection will explore my past relationships. But I also plan to write fiction, plays, and screenplays as I have started drafting quite a few projects. Stay tuned for updates by following me on Instagram @writeaway_selena.
Author Links: GoodReads | Instagram | Amazon
Poetry Thrives on a Mystery
What We Hold No Longer is a collection of poems that circle around memory, aging, identity, and the haunting void that lies beneath it all. What inspired you to write this particular collection of poems?
I’ve recently become an avid reader of psychoanalyst Adam Phillips. Last year, one of his books introduced me to Jacques Lacan. Specifically, how our subconscious impacts language, and in turn, how we use language shapes desire. For a poet, what could be more delicious to explore? Ineluctably, even mentioning Lacan brings up his theories on the Void (The Thing) and religion. This, in turn, led me to Lacanian scholar Richard Boothby (Embracing the Void). Along the way, I also read a book by Phillips on our ambivalence towards transforming our lives (On Wanting to Change). Transformation is a particularly important topic at this stage of my life. What I did not anticipate in reading this book was the evocation of so many memories. As a pediatric psychoanalyst, Phillip’s description of childhood, particularly the excruciating years of adolescence, flooded me with things I’d long forgotten (eg, seeing my grandfather’s corpse at age 9, the inchoate sense of frustration, and seeking revenge on my parents’ reputation with a can of red spray paint, etc.).
Can you share a bit about your writing process? Do you have any rituals or routines when writing poetry?
I’m trying to understand my writing behavior. I appear to have a natural rhythm, whereby I’ll write a dozen poems over a month or two and then go silent for just as long. During the quiet months, I read more and pay attention to what I see and listen to: all the things popping up as thoughts and feelings. The poems “The False God’s Lullaby” and “New Year’s Day” were brief glimpses of people, just a few moments of an image that resonated deeply, and unexpectedly.
What moves me from outside triggers something poignant nesting deep inside: “The I of my other who moves silently with me” (The False God’s Lullaby). Also, I love editing. Paul Valéry once said: “A poem is never finished, only abandoned.” I think he meant you can always refine and improve a poem. I try to limit my revision window to six months. Once a poem reaches structural stability (ie, I know what I want to say and the confines to say it in), I put it away for several days or weeks at a time. It’s important to understand that during initial composition, the poem’s neural map is being built using high stores of neurotransmitters. This is how we learn. However, it also prevents us from seeing inherent weaknesses when we’re still trying to get our thoughts written down. Taking a break for days or weeks reduces neurotransmitter stores. This removes the blinders to our writing, so we can see problems more readily and find better ways to say what we’re trying to convey.
How do you approach writing about deeply personal or emotional topics?
I think it is important during initial composition to just let things rip, because that is likely to be the most truthful. However, there is a balance to be struck. I’m reminded of a phrase from the Upanishads: “The path to salvation is narrow. It is as difficult to tread as the razor’s edge.” I view confessional poetry as an attempt to achieve psychic salvation. To shy away from powerful emotions creates a sense of falsity impossible to ignore. Yet, in the passion of writing, we can also say too much. Poetry thrives on a mystery, on what is left unsaid. That’s part of the art form I’m still working on improving.
How has this poetry book changed you as a writer, or what did you learn about yourself through writing it?
I have the sense in writing What We Hold No Longer that I’m beginning to mature as a poet. I’m not sure anyone else would agree. But there was something about the Lacanian cycle of poems that shifted my writing in a way I haven’t fully grasped. At this moment, I can’t imagine writing anything more profound or better composed than those poems. Time will tell. Every book I’ve written so far has enriched my sense of self and given me a sense of being more at peace with myself. Something that had eluded me before I’d written The False God’s Lullaby.
Author Links: GoodReads | Amazon
Such topics have been the foundation of his poetry explored in his previous works and have been expanded upon in “What We Hold No Longer.” As in his other works, poems are grouped together in themes. These themes approached from a deeply psychic perspective and include: personal transformations throughout life, existential encounters with “Nothingness,” the rise of fascism, loss, and the realm of an interior life (both our conscious narratives and our river of unconsciousness). What Gedaliah refers to as “the I of my other, who moves silently with me” (The False God’s Lullaby).
The poems in this current collection maintain characteristics that reviewers of his previous works have consistently noted. That “Gedaliah seamlessly blends philosophical depth with artistic expression, offering a deeply reflective journey through identity and human complexity, striking a perfect balance intellectual exploration and emotional resonance.”
LITERARY TITAN 