Tag: emotional honesty

  • Author’s Note

    When I Fall is about the way I experience love when I stop trying to make it smaller.

    I have never been particularly good at feeling things halfway. When something reaches my heart, it tends to go deeper than the surface—into the marrow, into the places where emotion becomes difficult to separate from identity. That intensity can be beautiful, but it can also hurt when the love I give doesn’t find its way back to me.

    The easy response would be to close myself off.

    To dim the light.

    To protect myself by pretending I don’t feel as deeply as I do.

    But I don’t want to do that.

    There is something important about refusing to treat your capacity for love as a flaw simply because someone else couldn’t—or wouldn’t—meet you there. Sometimes loving wholeheartedly means accepting that you may get hurt. Sometimes being honest about what you feel means sitting with the loneliness afterward.

    That doesn’t mean the answer is to become colder.

    I would rather keep my heart open.

    I would rather love the way I love—whole, honest, and unhidden—than spend my life making myself smaller just to avoid the possibility of pain.

    Maybe falling hard isn’t the problem.

    Maybe the real courage is choosing to keep getting back up without becoming afraid of the fall.

    Rowan Evans


    An open heart beside a fountain pen, spilling crimson ink across a porcelain writing surface in a dark, intimate scene.
    I would rather love wholeheartedly than make my heart smaller just to make the fall hurt less.

    When I Fall
    Poetry by Rowan

    When I fall, I fall hard.
    I feel it all or nothing—
    when it comes to matters of the heart.

    There is no middle ground,
    no in-between—
    it’s all or nothing for me.

    I send out love,
    and no one returns with it.
    so I sit alone—
    it’s the same as always,
    I’m used to it.

    I wear my heart on my sleeve,
    exposed to the elements.
    That means I feel things deeply,
    nothing is surface level—
    everything is marrow deep.

    So I pour myself in crimson ink
    across a porcelain page—
    the only place
    that I can put this pain.

    Still, I don’t close myself.
    I don’t dim the light.
    I don’t pretend my heart is smaller
    than it is.
    I love the way I love—
    whole, honest, unhidden—
    even if it leaves me alone sometimes.


    Journey into the Hexverse…

    [Where the Metaphors Lead]
    Some truths are easier to write than they are to say aloud. “Where the Metaphors Lead” explores the quiet space between dreams, confession, and the courage it takes to let another person know how deeply they’ve become woven into your inner world.

    [Beach to Beach (How I Get There)]
    A dream becomes a journey between familiar shores and unfamiliar cities in Beach to Beach (How I Get There), a poem about imagined travel, ocean crossings, longing, and the places we hope to someday reach while awake.

    [The World Shifted Around Us]
    The world transformed around us—beach, city streets, jungle—but we never moved. Sometimes love isn’t found in words, but in the quiet certainty of someone remaining clear while everything else fades.

    [I’d Rather Try]
    Anyone can promise they’d die for someone. But love isn’t built on one dramatic moment—it’s built on showing up, trying again tomorrow, and proving your words through consistent action.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Some poems begin with an idea. Others begin with a feeling that refuses to leave.

    This one was written in the early hours of the morning, during that familiar stretch of time when the world grows quiet enough for my thoughts to become louder than everything else.

    I’ve always found it easier to write than to speak. Conversations ask for immediate answers. Poetry allows me to sit with a feeling until I understand it well enough to translate it into language.

    Many of the recurring images throughout my recent work—the moon, the tide, distant shores, dreams, and city streets—have become a personal symbolic language. They aren’t separate subjects anymore. They all point toward the same emotional center.

    This poem finally acknowledges that.

    Sometimes the metaphors aren’t hiding anything.

    Sometimes they’re quietly leading us back to the truth we were trying not to say.

    Rowan Evans


    A lone writer journaling by moonlight at four in the morning while the moon reflects across a calm ocean beyond the window.
    Some feelings only find their voice after midnight, where dreams, memory, and metaphor become impossible to tell apart.

    Where the Metaphors Lead
    Poetry by Rowan Evans

    It’s funny how I find myself here again,
    four AM—it’s just me, the music and my pen.
    I’ve got so many thoughts with so much to say,
    my lips move but no sound comes—
    like I lost one voice, when I found the other.

    And it’s not that I can’t speak—

    it’s just that words don’t come easily,
    when they try to come verbally.

    But on the page,
    everything lines up—

    the thoughts, the feelings,
    the things I never say out loud.
    Ink doesn’t trip over itself
    the way my voice does.

    So here are a few
    truths for you—

    there is a woman
    she is on my mind constantly,
    yeah, she is simultaneously
    the easiest and hardest to talk to.

    She makes me feel like I can be me—
    completely.

    And honestly,
    I’ve never really had that
    with anybody else—

    every beautiful line I write
    about the moon in the sky,
    the ocean and tide—

    yeah, most of the time
    it leads back to her
    in my mind.

    And every dream, I translate in ink—
    the shores I walk in sleep,
    secrets I try not to keep,
    even when it’s hard to speak—

    I lay them on the page and pray
    that they’ll reach their destination one day.

    So I sit here,
    four AM again,
    writing the things
    I can’t say out loud—

    hoping one day
    I’ll find the courage
    to speak them aloud.


    Journey into the Hexverse…

    [The World Shifted Around Us]
    The world transformed around us—beach, city streets, jungle—but we never moved. Sometimes love isn’t found in words, but in the quiet certainty of someone remaining clear while everything else fades.

    [Every Night, The Same Flight]
    Every night begins with the same flight. Between wakefulness and sleep, an airport appears, a familiar shoreline waits beyond the journey, and the same dream asks whether some destinations find us before we’re ready to find them.

    [Where I Belonged]
    A bedroom becomes an airport in the space between sleep and waking. Where I Belonged explores liminal consciousness, uncertainty, and the strange moments when reality feels suspended between two worlds

    [Opposites Coasts of the Same Silence]
    What separates two people isn’t always an ocean. Sometimes it’s the silence between everything left unsaid. Opposite Coasts of the Same Silence explores longing, distance, dreams, and the quiet hope that even across impossible divides, someone might still hear your voice.

    [Ocean Waves (1, 4, 3)]
    A moonlit shoreline, a rowboat full of ducks, a piggybank with no cents, and a confession hidden in plain sight. Ocean Waves (1, 4, 3) explores how humor, wordplay, and absurdity can become a side door to vulnerability when the truth feels too difficult to say directly.

    [Call of the Tide]
    A poem about identity, displacement, and the quiet pull toward something beyond the shoreline you were born on. Sometimes the tide calls louder than the anthem.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    There seems to be something about four in the morning.

    Not because it’s magical in any supernatural sense, but because it’s quiet enough that there’s nowhere left for your thoughts to hide.

    I’ve written several poems that begin around that hour, and they all seem to share the same quality: honesty arrives before I have time to edit it.

    This poem came from one of those mornings.

    I wasn’t trying to write a love poem.

    I was trying to understand why certain thoughts become louder when the rest of the world falls silent.

    The title, When the Veil Is Thin, can be read a lot of ways. Some people hear something mystical in it. For me, it’s more psychological.

    The veil is simply the distance between what I feel and what I’m willing to admit.

    During the day, that veil is thick.

    By four in the morning…

    it becomes almost transparent.

    This poem isn’t really about insomnia.

    It’s about the moments when the truth finally stops whispering and starts speaking clearly enough that you can no longer pretend not to hear it.

    Rowan Evans


    A sleepless writer sits beside an open notebook as moonlight fades into the first light of dawn through a bedroom window.
    Some truths wait until the world is quiet enough to be heard.

    When the Veil Is Thin
    Poetry by Rowan Evans

    It’s after four AM
    and the veil is thin—
    I should be asleep
    but my mind won’t
    cease to speak.

    It won’t stop the talk—
    I try to write, just anything—
    because this is when the truth
    seems to sing,
    it rings through the ink—

    It’s you in every thought—
    and I can’t seem to shake
    this feeling in my chest.

    It’s not a weight, just an ache—
    sometimes it keeps me awake.

    And I try—I try so hard
    to just say the things,
    but I bite my tongue
    and my mouth snaps shut.

    It’s got me screaming—
    what the…

    Why am I still up?

    I’m still awake,
    with thoughts I can’t shake.
    With dreams just out of reach
    of shores I’m longing for—

    I just need to be clear.
    It’s not the thought
    of your hand in mine.

    It’s the thought of our time,
    together, intertwined—

    maybe when dawn breaks
    this feeling will ease—
    but for now, it lingers,
    soft as the moon on my skin.

    The veil thins again—
    and in the hush before morning,
    your name is the only truth
    that doesn’t fade.

    The sky begins to pale—
    and I let the thought of you
    carry me into sleep.


    Journey into the Hexverse…

    [Where Intimacy Begins]
    For some, attraction begins with appearance. For others, it begins with conversation. Where Intimacy Begins explores the beauty of curiosity, deep listening, and the quiet connection that forms when two minds truly meet.

    [The Life of a Witness Poet]
    What does it mean to love someone when the greatest act of care is simply witnessing their life? This poem explores quiet devotion, distance, and the compassionate heart of a witness poet.

    [What I’m Trying to Say]
    What begins as an exaggerated promise of love slowly strips itself back until only one simple truth remains: real devotion isn’t found in grand gestures—it’s found in consistently showing up.

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Sometimes poetry gets carried away.

    This poem certainly did.

    It began with a simple thought: I’ve always believed that “I’d live for you” carries more weight than “I’d die for you.”

    Living requires consistency.

    It asks something of you every single day.

    Somewhere along the way, though, my imagination decided that wasn’t enough. Suddenly I was climbing out of graves, becoming immune to death, and accidentally writing the world’s most dramatic promise.

    Which is why the poem has to stop and laugh at itself.

    Because beneath all the exaggeration, there is a much quieter truth trying to be heard.

    I’m not promising the impossible.

    I’m not promising eternity.

    I’m simply saying the thing I’ve been trying to say all along:

    If you need me…

    I’ll show up.

    Again.

    And again.

    And again.

    Rowan Evans


    A solitary figure waiting with a lantern in gentle rain at twilight, symbolizing loyalty, devotion, and the quiet promise to always be there.
    “The greatest promises are rarely the loudest—they are the ones we keep, day after day.”

    What I’m Trying to Say
    Poetry by Rowan Evans

    “I’d die for you,”
    I’ve heard it a time or two—
    a grand gesture with no meaning,
    no follow through.

    “I would live for you,”
    I’ve said it a time or two—
    a simple gesture with so much meaning,
    it’s all about the follow through.

    Yes, I would live for you—
    I would live so true, that if I died—
    I’d dig myself from my grave
    to return to you.

    I’d become the undead,
    just to keep the promises I’ve said.
    I’d develop an immunity to death—
    I’ll never know what comes next,
    what’s the afterlife like?

    I’ll never know…

    Okay, maybe—
    I pushed that a little too far.
    Dragged it right to the edge,
    held it over the ledge—

    what am I trying to say?

    I guess—
    what I am trying to say is—

    I’ll be there. Always.
    Shine or rain, smiles or pain—
    my devotion doesn’t change.


    Journey into the Hexverse…

    [I’d Rather Try]
    Anyone can promise they’d die for someone. But love isn’t built on one dramatic moment—it’s built on showing up, trying again tomorrow, and proving your words through consistent action.

    [Pointing Me Home]
    The final poem in the No Metaphor Left Behind trilogy explores dreams, hope, and belonging. Through moonlight, ocean tides, and quiet conversation, Pointing Me Home reflects on carrying hope long before reaching the place you call home.

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    [The Language Her Souls Speaks]
    What if love isn’t about being understood, but learning to understand someone else? “The Language Her Soul Speaks” is a free verse poem about intimacy, communication, curiosity, and the desire to know another person beyond the limits of language.

    [It’s You I Choose]
    A poem about devotion, vulnerability, and the quiet decision to stay. Sometimes love isn’t certainty—it is choosing someone anyway.

    [The Streets I Walk When I Sleep]
    “The Streets I Walk When I Sleep” is a deeply intimate free verse poem about recurring dreams, emotional connection, longing across distance, and the strange feeling of remembering places and moments that have never happened in waking life.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Some people assume that because I write confessional poetry, vulnerability comes naturally to me.

    It doesn’t.

    My first instinct is almost always to make a joke.

    If something hurts, I’ll reach for humor. If something feels too exposed, I’ll bury it beneath a cartoon reference, a comic book nod, or a punchline that arrives just before the truth does.

    This poem is about that instinct.

    It explores the strange contradiction at the center of my writing: I’m willing to confess almost anything—as long as I can disguise it first.

    The title, 5:01, marks another early morning when my thoughts were moving faster than I could organize them. And “Pull the Punchline Back” became my way of describing what happens when I realize I’ve hidden behind humor for just a second too long.

    Sometimes the joke protects me.

    Sometimes it prevents me from saying what I actually mean.

    This poem lives somewhere between those two realities.

    Rowan Evans


    A lone person walking through an empty street at sunrise while faded comic book imagery dissolves into the morning light, symbolizing humor giving way to emotional honesty.
    Sometimes the hardest part of confession isn’t finding the words—it’s resisting the joke that tries to replace them.

    5:01 (Pull the Punchline Back)
    Poetry by Rowan Evans

    5:01—
    the morning comes
    and my thoughts run,
    like a marathon.

    You see—
    most the time
    my thoughts move quick,
    like a sprint—
    Usain?

    No, insane.

    I bolt when I feel
    I care too much—

    here the vulnerability comes,
    so where’s the joke at?
    I got to hide that—
    pull the punchline back.

    I put a brave face on—
    they call me Courage,
    even though
    I’m a cowardly dog.

    Isn’t it funny?
    I’m a confessional poet,
    but I hide the confession
    behind a wall of jokes—

    and cartoon references—
    can’t forget the comic books.

    The page is a phone booth,
    I go into to change—
    but I’m not trying to be a hero here,
    there’s no S on my chest.

    I’m just here for those
    that are stressed and struggling.

    And this is my problem,
    I’ve got my own problems,
    then I take mo’ problems,
    they were yo’ problems—

    now I’m juggling.

    The sad thing is—
    the whole time
    this is what my mind
    has been running from.

    It’s incredible—
    how fast I Dash,
    gone in a Flash,
    like I ran to the past
    to escape—

    everything I want.

    Connection.
    Reflection.

    So I keep my feet moving
    until I get where I’m going,
    and I’m not showin’—
    no signs of slowin’.


    Journey into the Hexverse…

    [I’d Rather Try]
    Anyone can promise they’d die for someone. But love isn’t built on one dramatic moment—it’s built on showing up, trying again tomorrow, and proving your words through consistent action.

    [Tots, Rocks and All]
    What begins as a surreal collection of tater tots, rocks, comic book references, and runaway thoughts slowly reveals something much quieter: a poem about creativity, vulnerability, and the simple hope of finding someone willing to hold your heart.

    [Ocean Waves (1, 4, 3)]
    What begins as a surreal collection of tater tots, rocks, comic book references, and runaway thoughts slowly reveals something much quieter: a poem about creativity, vulnerability, and the simple hope of finding someone willing to hold your heart.

    [L Words & Heart]
    A playful, self-aware poem about love, longing, loyalty, and the quiet ways another person can reshape our inner world. What begins as humor slowly reveals a heartfelt confession about affection, imagination, and the faces that linger in our dreams.

    [No You and I, Only Us]
    A hopeful free verse poem about empathy, borders, and imagining a world where humanity matters more than division.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Some promises sound beautiful because they are dramatic.

    “I’d die for you.”

    It’s a phrase we’ve heard in songs, films, books, and poetry for centuries. It carries an undeniable emotional weight.

    But while writing this poem, I found myself asking a different question.

    What happens after the dramatic declaration?

    Because most relationships aren’t built on one extraordinary moment.

    They’re built on ordinary ones.

    Showing up.

    Listening.

    Being consistent.

    Choosing someone again tomorrow after choosing them today.

    Dying for someone is an idea that exists in a single moment.

    Living for someone is a practice that unfolds across thousands of moments.

    That’s what this poem is really about.

    Not grand gestures, but quiet commitment.

    Not sacrifice for a day…

    but presence for a lifetime.

    Rowan Evans


    Two people reaching toward one another across a narrow gap at sunrise, symbolizing trust, consistency, and choosing to show up for someone every day.
    “Love isn’t measured by one extraordinary promise—it is measured by the ordinary moments when we choose to stay, to try, and to be there.”

    I’d Rather Try
    Poetry by Rowan Evans

    Oh, they said they’d die for you—
    and give all of their life too.
    But would they be there for you
    and truly care too?

    Anyone can say they’d die—
    but would they have the spine,
    when it comes time
    to put it on the line?

    What would I do?

    Well—
    I would try for you
    and live all of my life too.
    I would be there for you,
    and truly care too.

    Yeah, I know—
    anyone can say they’d try,
    but consistency is where
    promises live or die.

    And I’ve tried to prove
    myself consistently.

    To show that I mean
    what I say—
    in more than just words,
    because it’s about the actions too.


    Journey into the Hexverse…

    [Pointing Me Home]
    The final poem in the No Metaphor Left Behind trilogy explores dreams, hope, and belonging. Through moonlight, ocean tides, and quiet conversation, Pointing Me Home reflects on carrying hope long before reaching the place you call home.

    [Only Waiting]
    The second poem in the No Metaphor Left Behind series, exploring the quiet ache of growing up in a place that never truly felt like home—and finally saying aloud what years of metaphor had been trying to express.

    [Crossing the Sea]
    A deeply personal poem about relocation, longing, and the realization that some truths naturally arrive through metaphor—even when we try to leave it behind.

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    [Not Rebuilding You]
    A poem about love as an act of presence rather than rescue. Through construction imagery, Not Rebuilding You explores trust, devotion, emotional safety, and the quiet work of building a foundation strong enough for healing to grow.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Some poems begin with an idea.

    This one began with a phrase that made me laugh.

    “Pockets full of tater tots and rocks.”

    I couldn’t tell you where it came from. My brain simply handed it to me, and I knew I had to follow it.

    That’s how a lot of my writing happens.

    One strange image appears, and instead of questioning it, I trust it. I let the poem figure out why that image belongs there.

    This piece moves the way my thoughts move—quickly, unpredictably, jumping from humor to comic books, from creative confidence to quiet vulnerability without asking permission.

    For a while, it feels like controlled chaos.

    Then, almost without warning, it settles.

    Because beneath the jokes, beneath the references, beneath the absurd image of someone carrying tater tots and rocks around in their pockets, there’s a simple truth waiting to be spoken.

    I spend a lot of time thinking.

    A lot of time creating.

    A lot of time turning emotions into language.

    And underneath all of that, like it is underneath so many of my poems, is the same quiet hope:

    To find someone willing to hold my heart with the same care I try to give theirs.

    Sometimes that’s all a poem is.

    A strange road leading to an honest sentence.

    Rowan Evans


    A solitary poet stands beside the ocean at sunset with pockets full of rocks and tater tots while handwritten pages become ink in the wind.
    “Sometimes the strangest thoughts lead to the most honest truths.” 🥔🪨✍️🌊

    Tots, Rocks and All
    Poetry by Rowan Evans

    I’m lost in my thoughts again,
    pockets full of tater tots
    and rocks again.

    Take a dip in the ocean—
    emotion overflowin’
    like the ink from my pen.

    Runaway mind,
    runaway lines.

    This much creativity
    should be a crime.

    I’ll break lines
    the way Bane
    breaks spines.

    And when I get like this
    I like to speak my mind,
    but I don’t speak in vocals—
    I speak in ink and rhyme.

    Now, let’s get real for a minute,
    just a moment of your—

    hands on the clock hold time,
    and I’m looking for a love
    that’ll hold mine.

    I guess that’s the truth of this—
    tots, rocks and all.


    Journey into the Hexverse…

    [Chemical X]
    Chemical X explores the rapid, associative way one creative mind moves—from cartoons to sports, comic books to music—revealing that inspiration isn’t linear, but a collision of memory, humor, rhythm, and intuition.

    [Pointing Me Home]
    The final poem in the No Metaphor Left Behind trilogy explores dreams, hope, and belonging. Through moonlight, ocean tides, and quiet conversation, Pointing Me Home reflects on carrying hope long before reaching the place you call home.

    [Caller ID: Destiny]
    Sometimes the places we visit in our dreams feel more like home than the places we wake up in. Caller ID: Destiny explores longing, belonging, and the quiet feeling that life is calling you toward somewhere new.

    [Monster Theology]
    What if the monsters under the bed weren’t monsters at all? Monster Theology explores difference, belonging, and the human tendency to fear what we don’t understand through a conversation with the creatures we’ve spent our lives imagining.

    [Memories From a Life Yet to Come]
    Some dreams feel less like fantasy and more like memory. “Memories From a Life Yet to Come” is a reflective free verse poem about longing, displacement, emotional alignment, and the strange comfort of recognizing yourself more clearly in dreams than in waking life.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]


    [Bonus Track]

    I’ve got tater tots in my pockets,
    buried inside with two tickets
    to the Houston Rockets.
    They’re underneath all the rocks,
    it’s kind of insane.

    But I’m trying to sell ’em,
    ’cause I don’t watch sports—
    I watch narratives
    and stories unfold.

    I like the underdog—
    when their story gets told.

  • Author’s Note

    This poem is the second part of an experiment I started in Crossing the Sea—an attempt to write without leaning on metaphor, or at least to notice when metaphor appears even when I’m trying not to use it.

    The first piece focused on direction: the place I’m moving toward, the literal ocean I have to cross to get there. But I realized that before I could talk honestly about where I’m going, I needed to talk honestly about why I’m leaving.

    That’s what this poem is.

    It’s the part I’ve always written around instead of through.
    The part I’ve buried under tides, distance, storms, and moonlight.
    The part I’ve hinted at for years without ever saying plainly.

    The truth is simple, even if it took me a long time to say it:

    I’ve never felt at home in the country where I grew up.

    Not in childhood.
    Not in adulthood.
    Not in all the years in between.

    It’s a quiet ache—persistent, steady, familiar.
    Not dramatic, not catastrophic, just a sense of misalignment I’ve carried since I was fourteen. A feeling of being held in a place I never belonged to, waiting for a life that didn’t start here.

    I’ve called it restlessness.
    I’ve called it longing.
    I’ve called it distance.
    Eventually, I called it the ocean.

    But naming it directly felt necessary.
    Not to erase the metaphors, but to understand what they were protecting.

    This poem is that attempt.
    Not a rejection of metaphor, but a recognition of the truth beneath it.

    Rowan Evans


    A traveler stands at the edge of a familiar neighborhood looking toward a distant horizon with a suitcase in hand.
    Sometimes leaving isn’t running away. Sometimes it’s finally walking toward the place that feels like home.

    Only Waiting (No Metaphor Left Behind)
    Poetry by Rowan Evans

    Turn the page,
    I’ve got more to say.

    I’ll try again
    not to hide behind
    metaphors
    and coded lines.

    Last time—
    I talked about the destination,
    the place I’m moving toward.

    This time—
    I’m going to talk about the ache.
    The persistent empty feeling
    that I’ve been feeling since I was fourteen.

    I’ve written about it before
    woven in metaphors.
    But this time I’m going to try
    and say it plain.

    It’s the ache of living in a place
    that never felt like mine.

    Not once.

    Not in childhood,
    not in adulthood,
    not in all the years in between.

    People talk about home
    like it’s a given—

    a birthplace,
    a neighborhood,
    a country that shaped them.

    But I never felt shaped by this place.

    Only held in it.
    Only waiting.

    I learned early
    that you can grow up somewhere
    and still feel like a visitor.

    You can know every street
    and still feel lost.

    You can speak the language
    and still feel unheard.

    Since fourteen,
    I’ve carried this quiet emptiness—
    not dramatic,
    not catastrophic,
    just a steady sense
    that I was meant to be somewhere else,
    and somehow ended up here instead.

    I used to call it restlessness.

    Then longing.

    Then distance.

    Then the ocean.

    But the truth is simpler:
    I’ve never felt at home
    in the country that raised me.


    Journey into the Hexverse…

    [Crossing the Sea (No Metaphor Left Behind)]
    A deeply personal poem about relocation, longing, and the realization that some truths naturally arrive through metaphor—even when we try to leave it behind.

    [Translating What I Feel]
    A poem about the invisible process of turning emotion into imagery, imagery into language, and language into poetry. An intimate reflection on creativity, loneliness, and twenty-three years of learning to translate what the heart feels.

    [Maybe You’ll Want Me Too]
    A poem about the subtle shift from knowing someone to constantly thinking about them. Through humor, metaphor, and confession, Maybe You’ll Want Me Too explores affection, attachment, and the fragile hope that being wanted might matter more than being needed.

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    [Not Rebuilding You]
    A poem about love as an act of presence rather than rescue. Through construction imagery, Not Rebuilding You explores trust, devotion, emotional safety, and the quiet work of building a foundation strong enough for healing to grow.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    This piece began exactly where it sounds like it did:

    With a headache.

    Not a dramatic one. Not a poetic one.

    Just the kind that makes it difficult to focus. The kind where every sound feels a little sharper than it should. The kind where your thoughts stop moving cleanly and start dragging their feet.

    I sat down intending to write about that feeling.

    But somewhere along the way, the poem became less about pain and more about disconnection.

    Because what struck me wasn’t the headache itself.

    It was the strange sensation of feeling slightly removed from the world around me.

    Like reality had taken half a step backward.

    Like I was still present, but not entirely anchored.

    The images of echoes, warped thoughts, blurred edges, and slipping focus all came from trying to describe that experience as honestly as possible.

    What surprised me was where the poem ended.

    I started by writing about a physical sensation.

    I ended by writing about recognition.

    About the desire to feel fully present again.

    To feel connected to yourself, your surroundings, and the moment you’re living in.

    The title comes from that realization.

    Because sometimes discomfort doesn’t make us feel absent.

    It makes us feel forgotten.

    Not by other people, necessarily, but by the world itself.

    As though we’ve drifted just far enough away from ourselves to notice the distance.

    And all we can do is sit quietly and wait for clarity to return.

    For the world to remember us again.

    Rowan Evans


    A solitary person sitting quietly with a headache as the world around them blurs and fades into soft echoes of light.
    “Some days it isn’t pain that feels overwhelming—it’s the distance between yourself and the world around you.”

    For the World to Remember Me Again
    Poetry by Rowan Evans

    I’ve got a headache,
    can’t see straight—
    vision blurring at the edges.

    It’s the kind of headache—
    where even the silence
    is loud.

    And I sit in it,
    this ringing hush,
    like the world has stepped back
    and left me echoing alone.

    It’s like—
    every sound echoes
    in a cavernous skull.

    Like my thoughts are ricocheting
    off the walls of me,
    coming back warped,
    a little less mine
    each time—

    the rhythm
    loses a little bit
    of its rhyme.

    Every pulse is thunder,
    every heartbeat a warning—
    a storm gathering
    behind my eyes.

    I try to focus,
    but the edges keep slipping—
    like my mind is smudging
    under its own weight.

    So I breathe,
    slow and deliberate,
    hoping the world will settle
    back into focus—

    or at least…

    stop slipping away.

    And I wait,
    quiet as I can,
    for the world
    to remember me again.


    Journey into the Hexverse…

    [Before My Feet Touch the Floor]
    What happens when your dreams feel more real than your waking life? Before My Feet Touch the Floor explores the strange grief of waking up, the lingering memory of dream selves, and the quiet question of which version of us is truly real.

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    [Monster Theology]
    What if the monsters under the bed weren’t monsters at all? Monster Theology explores difference, belonging, and the human tendency to fear what we don’t understand through a conversation with the creatures we’ve spent our lives imagining.

    [Not Rebuilding You]
    A poem about love as an act of presence rather than rescue. Through construction imagery, Not Rebuilding You explores trust, devotion, emotional safety, and the quiet work of building a foundation strong enough for healing to grow.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]

  • Author’s Note

    Some poems arrive because of a grand idea.

    Others arrive because a single sentence refuses to leave.

    This was one of those.

    The poem began when I remembered a conversation. A joke, really. Someone once described themselves as being “like a drug” and we laughed about it. At the time, it felt playful, exaggerated, harmless.

    But memory has a way of revisiting things from a different angle.

    When I thought about that conversation later, I realized what interested me wasn’t the comparison itself. It was the experience of slowly realizing that someone has become part of your everyday thoughts without you noticing exactly when it happened.

    One day they’re simply someone you know.

    Then they’re someone you think about.

    Then they’re someone who quietly occupies space in your mind when nothing else is demanding your attention.

    The drug metaphor gave me a doorway into the poem, but it isn’t really what the poem is about.

    It’s about affection.

    It’s about attachment.

    It’s about the strange vulnerability of admitting that someone matters.

    More than that, it’s about the difference between being needed and being wanted.

    Need can feel transactional.

    Want feels chosen.

    The final lines became the emotional center for me because they capture a hope I think many people carry but rarely say aloud:

    Not that someone has to stay.

    Not that someone owes us their attention.

    Just that maybe, if given the choice, they would choose us too.

    Like a lot of my recent work, humor and metaphor show up first. They’re familiar territory. They’re comfortable. They make difficult things easier to approach.

    But beneath the jokes, the poem is doing what many of my poems eventually do.

    It’s confessing.

    Rowan Evans


    A solitary figure standing beneath glowing city lights as colorful streams of light drift through the air, symbolizing affection, attachment, and lingering thoughts of someone special
    Sometimes affection arrives quietly—slipping into your thoughts until you realize someone has become part of your everyday world.

    Maybe You’ll Want Me Too
    Poetry by Rowan Evans

    I remember when you said—
    you are like a drug.

    It was all laughs
    about your exes being hooked,
    still shook by the thoughts of you.

    But I was getting second-hand
    contact highs—

    now I feel addicted too.

    It’s like you’re in my bloodstream.
    You’ve rewired my brain,
    rebalanced the chemical compounds—
    you’re in nearly every single thought now.

    I try to hide it behind metaphors
    and jokes—an attempt to mask
    the fragile hope—

    that you won’t need me,
    but maybe you’ll want me too.


    Journey into the Hexverse…

    [Recognizes Home]
    A free-verse poem exploring the difference between love as dependency and love as choice. It challenges the idea that love must be need-based, instead centering the quiet strength of choosing someone while still remaining whole on your own.

    [Not Rebuilding You]
    A poem about love as an act of presence rather than rescue. Through construction imagery, Not Rebuilding You explores trust, devotion, emotional safety, and the quiet work of building a foundation strong enough for healing to grow.

    [The Language Her Soul Speaks]
    What if love isn’t about being understood, but learning to understand someone else? “The Language Her Soul Speaks” is a free verse poem about intimacy, communication, curiosity, and the desire to know another person beyond the limits of language.

    [Ocean Waves (1, 4, 3)]
    A moonlit shoreline, a rowboat full of ducks, a piggybank with no cents, and a confession hidden in plain sight. Ocean Waves (1, 4, 3) explores how humor, wordplay, and absurdity can become a side door to vulnerability when the truth feels too difficult to say directly.

    [L Words & Heart]
    A moonlit shoreline, a rowboat full of ducks, a piggybank with no cents, and a confession hidden in plain sight. Ocean Waves (1, 4, 3) explores how humor, wordplay, and absurdity can become a side door to vulnerability when the truth feels too difficult to say directly.

    If you’re interested in more poetry, you can find it here → [The Library of Ashes]