Tag: metaphor poetry

  • Author’s Note

    We often say someone is “living rent-free in our head,” but what if they weren’t renting?

    Thoughts of You Have Prime Real Estate takes that familiar expression and builds an entire neighborhood inside the mind—roads, sidewalks, corner lots, contemporary homes, secrets, dreams, and eventually one particularly valuable property.

    Because thoughts don’t always feel temporary. Sometimes they settle in, expand, renovate, and quietly become part of the landscape.

    And apparently, the thoughts of you got the best view.

    — Rowan Evans


    A surreal neighborhood inside the mind with glowing homes and one magnificent house overlooking the others, symbolizing thoughts of someone occupying prime mental real estate.
    Some thoughts rent a room. Yours apparently bought the whole corner lot.

    Thoughts of You Have Prime Real Estate
    Poetry by Rowan Evans

    They say, when something is stuck
    in your thoughts—
    it lives rent free in your head,
    and that’s true in a sense—
    because the thoughts
    have taken up real estate, they own land—
    building new developments.
    New neighborhoods are being constructed,
    new roads are being laid—
    new sidewalks paved.

    Take a walk
    down the block,
    you’ll see thoughts
    taking up
    corner lots—

    modern contemporary homes
    lining the streets—
    full of my secrets to keep,
    and rooms where my dreams sleep.

    But the nicest home of all—
    the one with the best views,
    and the biggest rooms…

    it houses my thoughts of you.


    Journey into the Hexverse

    [Half a Picture]
    What happens when someone falls in love with the person they discover through your poetry? Half a Picture explores the strange intimacy between writer and reader—and the distance between seeing someone’s mind through their words and truly knowing the whole person.

    [Love Me From Over There]
    A sharp and humorous poem about the strange contradiction of wanting someone close while simultaneously needing them to stay several feet away from your face.

    [It Could Have Been…]
    A playful little love poem about strawberries, roses, and the wonderfully ridiculous ways romance can show up when you know someone doesn’t like the traditional version.

    [High Tide]
    A short reflective poem about leaving, returning, and accepting the forces that pull us back—like the tide guided by the moon.

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

  • Author’s Note

    Sometimes the quiet person isn’t harmless.

    Sometimes they’re just taking notes.

    Literarily Speaking plays with the old assumption that silence means weakness—and then turns that assumption into a playground for metaphor, gothic imagery, and wordplay. The speaker doesn’t need fists, fury, or actual hatred to make an impact. A pen, a raven feather, a few rose petals, and a sufficiently sharp vocabulary will do just fine.

    The mythology of Wish-A-Motherfucker Wood and the Fuck Around Valley is deliberately ridiculous, because this piece knows exactly what it is doing: dressing poetic confidence up like a threat before revealing that the real damage is entirely literary.

    The point isn’t to hate harder.

    It’s to write sharper.

    Literarily speaking.

    — Rowan Evans


    A calm poet writes with a raven-feather quill and crimson rose-petal ink at a gothic desk surrounded by ravens and dark roses.
    I don’t need hate to eviscerate you—literarily speaking.

    Literarily Speaking
    Poetry by Rowan Evans

    They think because I’m quiet,
    I’m an easy target—
    so they talk a lot,
    and they talk
    like they forgot
    where I stood,
    bitch, I came up in the—
    Wish-A-Motherfucker Wood.
    Nestled in the Fuck Around valley,
    come around here—you’ll Find Out.

    So I pen my threats
    in fresh crimson—
    ink made from rose petals,
    quill from raven feather—
    that’s why I write the way I do—
    because I know Unkindness well.
    I know the world can be cruel,
    but being full of hate isn’t cool—

    and that’s why
    I write the way I do—
    I don’t need hate
    to eviscerate you…

    literarily speaking…


    Journey into the Hexverse

    [The Playground]
    What happens when mythology stops being something to hide behind and becomes architecture for the imagination? The Playground (Language, Metaphors and More) explores Rowan Evans’s relationship with language, symbolism, metaphor, humor, and twenty-three years of turning the page into a place where anything can happen.

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

  • Author’s Note

    Poetry has never been a place I go to behave.

    For me, language is something to climb through, rearrange, break apart, rebuild, and occasionally weaponize for the sake of a really bad joke. Mythology and symbolism are still part of that world, but they aren’t walls I hide behind anymore—they’re architecture. They give the imagination somewhere to live while the poet underneath it keeps revealing himself, piece by piece.

    The Playground (Language, Metaphors and More) is an invitation into that space.

    It is part creative philosophy, part victory lap, part conversation with the page—and, naturally, part terrible knock-knock joke. Because if I’ve spent twenty-three years turning language into a playground, I’m going to play.

    — Rowan Evans


    A poet walks through a surreal playground built from an open notebook, surrounded by ravens, moonlight, roses, mythology, and flowing ink.
    The page isn’t a cage. It’s a playground—and I’ve brought my own rules.

    The Playground (Language, Metaphors and More)
    Poetry by Rowan Evans

    I sat down—
    with the intent to write,
    had a lot of ideas
    on my mind tonight—
    like what if the moon
    was a witness?

    And the tide a guide through
    the emotional current
    in the room—
    but that’s just if I
    went the route
    of mythology,
    symbolism—
    and everything
    I used to hide behind.

    That’s not how I use it now—

    it’s still my mythology,
    symbolic architecture—

    giving my words texture—

    but I don’t
    hide behind it—
    I use it now,
    to show the art of me,
    getting to the deeper
    heart of me—
    not the whole picture,
    just a small part of me.

    I’ve been doing this
    for twenty-three
    years and counting—
    and I’m definitely
    not on my way out now—
    I’ll hit my second, third,
    fourth and fifth wind,
    any day now—
    I’ve turned language
    into my fucking playground—
    everything is a game now.
    Just conversating
    with the page now—
    I’m done pretending,
    like I don’t write flames now—
    poetry’s royalty,
    I’m taking my crown now—
    and I think it’s time you all
    bow down—
    look I’m going to make a joke,
    turn into a clown now.

    Why don’t we slow down?
    I’ll tell you that joke now—

    Knock, Knock—

    who’s there?

    Disa—

    Disa-who?

    Disa-me? I disa-you—

    with a line so mean
    you’ll want to disappear,
    wish you were never here—

    here’s a warning, dear:

    If you see my ravens,
    perched upon your lawn—

    it’s an omen—

    you are already gone.


    Journey into the Hexverse

    [The Metaphor Machine]
    A poem that takes apart its own machinery as it runs—breaking lines, breaking thoughts, and following metaphors from moonlight to tides, oceans, shorelines, and city streets.

    [Confession or Cap?]
    A sharp and playful look at the line between confession and exaggeration, where a nice poet admits that their pen sometimes talks a little too much shit—and occasionally sets the page on fire.

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

  • Author’s Note

    A bird cannot stay in the sky when the sickness has spread through its entire body. And no amount of arguing over which wing is responsible will change the condition of the bird itself.

    This piece is a short, sharp political metaphor about division, corruption, and the danger of treating opposing sides as separate problems when the larger system is already failing. It doesn’t linger to build an elaborate argument; it drops into the image, lets the wings beat against the ground, and leaves the reader with the sound of something collapsing.

    Sometimes the question isn’t which wing is right.

    Sometimes it’s whether the bird can survive at all.

    — Rowan Evans


    A sick bird with damaged wings lies on a cracked landscape, symbolizing division and systemic corruption.
    When the whole bird is sick, arguing over its wings won’t save it.

    Sick Bird
    Poetry by Rowan Evans

    Left wing or right wing?
    I don’t give a fuck—
    it doesn’t matter,
    if the whole bird
    is sick and corrupt—

    the whole bird is going down—
    flapping wild on the ground—
    death rattle, our final sound—


    Journey into the Hexverse

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

  • Author’s Note

    All for Me began with the idea of nature behaving like an overly enthusiastic audience—thunder applauding, lightning taking pictures, and rain rolling out the red carpet as if the sky had organized a celebration in my honor.

    The joke is that I’m not entirely opposed to the idea of being worth celebrating. I know I have my own value. I just don’t think the weather needs to turn that acknowledgment into a full-scale natural disaster.

    This is a playful little collision between self-confidence, reluctant attention, and the absurdity of taking the universe’s behavior personally.

    Sometimes the sky needs to understand that not every standing ovation requires a flood.

    — Rowan Evans


    A poet posing beneath a storm as lightning flashes and rain floods a red carpet in an exaggerated celebration.
    I appreciate the applause, but the sky really needs to chill.

    All for Me
    Poetry by Rowan Evans

    I sit beneath the open sky,
    watching as clouds roll in,
    listening as the thunder claps—
    it’s a round of applause,
    a standing ovation,
    but I don’t know—
    what we’re celebrating.

    Then the lightning flashes,
    and I strike a pose—
    ready for my picture to be taken,
    why? I don’t know—
    couldn’t get an answer,
    when I asked for it.

    Rain begins to fall,
    like confetti thrown—
    and the floods rush in,
    like the red carpet rolled—
    the sky keeps insisting
    I’m someone worth announcing,
    and I keep insisting—

    I’m not.

    Not that I don’t think
    I’m great—

    I do—

    I just don’t want nature to
    celebrate me too—
    because nature doesn’t know
    how to keep a party in check,
    it always gets out of hand.
    The water gets displaced—
    more ends up on land.

    And somewhere overhead,
    the thunder claps again,
    like it’s trying to convince me—

    this was all for me.

    I mean…

    I appreciate the gesture,
    but the sky really needs to chill.


    Journey into the Hexverse

    [It’s Almost Like I Know What I’m Doing]
    A self-aware reflection on nearly three decades of writing, discovering how rage became rhythm, pain became poetry, and comedic timing became another tool in the poet’s arsenal.

    [Lessons Without Kindness]
    A reflection on learning self-respect from a relationship that changed—the lessons hidden in manipulation, silence, and loss, and the realization that you don’t have to shrink yourself to make someone else feel tall.

    [Hell’s Protégé (Remix)]
    Rowan Evans revisits Hell’s Protégé, originally written in 2024, and reshapes the dark, infernal persona through a newer voice. The remix keeps the fire, darkness, and diabolic ambition of the original while allowing the poem to breathe differently.

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

  • Author’s Note

    The Metaphor Machine is a poem about the machinery behind my own poetry. I wanted to pull back the curtain and show what happens when a single line starts generating connections: moonlight becomes tide, tide becomes ocean, ocean becomes shoreline, shoreline becomes city streets, and suddenly the poem has wandered somewhere entirely different.

    The joke is that I’m explaining the process while actively doing it. The poem breaks its own lines, interrupts its own thoughts, calls attention to its metaphors, and then circles back to reveal that all those seemingly wandering pieces were connected by the same machine.

    Sometimes I don’t choose the metaphor. I just follow where it takes me.

    — Rowan Evans


    An open notebook whose poetic imagery transforms from moonlight and ocean waves into a shoreline and city streets.
    One metaphor becomes another, and the machine keeps running.

    The Metaphor Machine
    Poetry by Rowan Evans

    I’ll write a line in a way
    that’ll make you pause—
    then I’ll take that line
    and break that line,
    to break the thought—

    then I sprinkle in the metaphors,
    and this is really what I get meta for—

    I talk about the moon
    and the silver light,
    the way it shimmers—
    its image trembles
    across the top
    of dark water—
    that’s one I’ve said before.
    And I’ve said it lot,
    but I’m not going to stop.

    This is where the tides comes,
    and there the tide goes—
    because that’s how the tide works.

    And the ocean—

    this is a poem, I wrote…
    you didn’t think
    we were going to skip this one,
    did you?

    And the ocean,
    it’s so polite—
    the way it waves,
    every time it sees my face.
    It’s a familiar place,
    I sit on the shoreline, often—
    not in reality, but in my mind—
    that’s where the thoughts soften.

    Now, for the city streets—
    the heat, and god—
    that humidity, the way it clings.
    You’d think I’d dream of…
    somewhere less…
    humid? But I digress,
    it’s always love that I express
    for the islands I haven’t touched yet.

    If you’re following along—

    I wrote a line
    that made you pause—
    then I took that line
    and I broke that line—

    and that broke the thought.

    Then that’s where the pivot came,
    I told you what I really went meta for.

    It’s the metaphors.

    Moon to tide,
    tied to the ocean—
    a shoreline or two,
    next to the ocean blue—
    then beaches to city streets,
    it’s the same ones I walk in sleep.


    Journey into the Hexverse

    [Welcome to the Hexverse]
    Step into the Hexverse—a poetic world where mythmaking, humor, rage, creativity, and confession collide, and darkness becomes something that can be reshaped into art.

    [High Tide]
    A short reflective poem about leaving, returning, and accepting the forces that pull us back—like the tide guided by the moon.

    [Let Me Pacific]
    A lyrical poem about sitting beside the Pacific Ocean and discovering that an enormous body of water can become a bridge between distant hearts. Through ocean imagery, wordplay, and reflections on California and the Philippines, Let Me Be Pacific explores how love and poetry can cross even the greatest distances.

    [Did You Really Think This Was About Trees?]
    A playful love poem disguised as a forest of terrible tree puns. Beneath the birch, oak, cedar, palms, lumber, and absurdist wordplay is a poem about devotion, loyalty, laughter, and building a life with someone you love.

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

  • Author’s Note

    Sometimes a metaphor refuses to behave.

    This piece started with ice, took a few unexpected detours through pop-culture references, and eventually decided that being “cold” was nowhere near the right description anyway.

    So I stopped fighting the metaphor and let the fire take over.

    Because sometimes the pen doesn’t freeze.

    It smolders.

    — Rowan Evans


    A poet writing with a smoking pen as melting ice gives way to flames and glowing embers.
    The metaphor started cold. The pen decided it had something hotter to say.

    Fine, Fire It Is
    Poetry by Rowan Evans

    I’ll drop a Frozen bar because I’m cold—
    Emma Frost—hold on—that reference doesn’t land,
    it’s not ice, her skin turns to diamonds, man.

    It wasn’t in reference to her skin—

    well, what was it then?

    Her cold ass personality, duh, that’s the reality—
    she’s not nice, she’s mean—a real Ice Queen.

    Could have gotten there faster
    with Iceman, Bobby Drake—

    Or better yet, I could have said—
    I’ll drop a Frozen bar, because I’m cold—
    like Frozone, where’s my super suit?

    Fine.
    We’ll skip ice.

    That’d be nice,
    right?

    Cool—
    no, wait—
    not cool.
    We said we’re done with that.

    Fine then,
    fire it is—

    I pen flames,
    draggin’ ink across the page
    like a dragon’s rage—
    scorchin’ margins,
    burnin’ through the lines
    like I’m tryin’ to cremate the rhyme.

    See?
    This is why I shouldn’t switch metaphors—
    I get carried away,
    turn a spark into a wildfire,
    turn a wildfire into a prophecy,
    turn a prophecy into a punchline.

    But whatever—
    heat fits better anyway.
    I’m not cold,
    I’m molten—
    I don’t freeze,
    I smolder.

    And if ice didn’t land,
    fire always will—
    because even when I’m calm,
    my pen still smokes
    from the last thing I wrote.


    Journey into the Hexverse

    [Exhibit A]
    A quick-witted, unapologetically playful poem about writing fast, crossing lines, roasting the competition, and letting rhythm do the talking.

    [Why So Serious?]
    A playful, chaotic poem packed with pop-culture references, superhero imagery, Disney characters, wordplay, and the kind of ridiculous puns that make the poet wonder why they were ever given a pen.

    [Welcome to the Hexverse]
    Step into the Hexverse—a poetic world where mythmaking, humor, rage, creativity, and confession collide, and darkness becomes something that can be reshaped into art.

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

  • Author’s Note

    This poem explores the overwhelming power of love through the language of nuclear imagery—countdowns, chain reactions, fallout, and rebirth. I was interested in the idea that love can feel both destructive and creative at the same time: something that levels the person you were, only to leave space for something entirely new to grow.

    The metaphor of an atom bomb captures that moment when emotion reaches critical mass—when attraction becomes unstoppable and the self you knew before can’t survive the impact. But even in the aftermath, there is transformation. What looks like devastation may also be the beginning of something alive.

    Sometimes the brightest forces in our lives arrive quietly, without warning, and change everything.

    — Rowan Evans


    Surreal illustration of a glowing atomic explosion transforming into blooming light and flowers, symbolizing the explosive and transformative power of love.
    Love can arrive like a chain reaction—sudden, unstoppable, and powerful enough to remake everything.

    Love Like An Atom Bomb
    Poetry by Rowan Evans
    (written Feb 23, 2025)

    I never saw it coming,
    the countdown silent, unseen—
    then your name struck like a spark,
    and in an instant, I was ground zero.

    The air trembled,
    a shockwave of heat and want,
    your voice splitting the atoms of my restraint,
    your touch igniting a fission in my bones.

    We reached critical mass—
    unstoppable, inevitable—
    love detonated in the space between our lips,
    burning away everything I was before you.

    The fallout of your smile,
    a radioactive grace,
    laced in my veins, pulsing, consuming—
    a chain reaction I can’t contain.

    And yet, from the ashes,
    where my heart was leveled and laid bare,
    new life stirs—
    a wasteland blooming in your wake.

    Tell me, was it destruction or creation?
    A beautiful catastrophe,
    a love so bright it blinds,
    so fierce it remakes the world.


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

  • Author’s Note

    This poem is about muscle memory.

    Not the physical kind, but the kind you build over years of showing up — writing through doubt, through silence, through the versions of yourself that didn’t yet know how strong they were becoming.

    Fancy Footwork uses boxing as metaphor, but the real fight happens on the page and in the mind. Every dodge, every feint, every combination comes from long preparation — from learning how to move with intention instead of panic.

    This isn’t bravado. It’s recognition.

    Twenty-three years of practice doesn’t look like luck. It looks like instinct.

    — Rowan Evans


    An abstract illustration of a poet-boxer formed from ink, mid-movement, symbolizing writing as a disciplined and practiced art.
    Writing is muscle memory — every move learned, every strike intentional.

    Fancy Footwork
    Poetry by Rowan Evans

    When I put pen to paper,
    my ink becomes a cage
    on the page
    the way I write bars.

    Yeah, my ink flows—
    it floats
    like a butterfly,
    stings like a bee.

    Hit you with that
    one, two and three.
    Right jab, left hook—
    followed by an uppercut.

    It’s fancy footwork,
    the way my ink glides
    and slides across the page.
    It’s a dance,
    choreographed—
    every line precise.

    I duck,
    slip, dodge
    and throw a feint.
    Misdirect,
    then change direction,
    onslaught,
    raining fists.

    Watching everyone
    that considers themselves
    opposition—
    losing their minds,
    as I
    continue to gain
    position.

    They aren’t even
    competition.
    Nobody will
    stop me
    on my ascension.

    Eyes focused
    on the mission.

    I will climb the ladder
    one rung at a time.
    Watch my ranking rise,
    win after win,
    fight after fight—
    see the smile on my face?
    This is
    my championship chase,
    I will claim
    the top place.

    I’ve been preparing for this
    for twenty-three years.
    Shadowboxing
    inside the lines,
    it was me
    versus my mind.

    I was—
    hitting the gym,
    testing reflexes
    building the instinct,
    to move
    the way poetry flows.

    Movement so quick,
    I hit like a flash—
    every jab,
    lands like prose.


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