How to Disappear Completely

There are no tags for this post. It won’t be shared on my social media, but if you want to do so, that’s absolutely fine. Some people will find it difficult to read as it’s not set with pictures and there will be no links to click, in order for me to increase my reach. The rationale for this is simple. There comes a point is everybody’s lives when you realize that something is missing, and when you live your life in the main online… that means knowing and finally accepting there must be moments when you’re not.

Even when I was in hospital, a few years ago, I was still online. It is something that, increasingly, must not be the case. Learning about yourself ultimately demands the ability to properly embrace what takes place during a change of circumstances, and as this is the first extended break I’ll have had since Lockdown began… it ought to be a break. That means not sharing it with an audience, and it being just mine. More significantly, it demands I find other ways to entertain myself when not constantly reacting to other people.

My phone this weekend will become a music player and a camera. After that, it is time to see what circumstance grants me as direction.

Coming Up…

January is almost at an end, and to maintain the momentum from 2022’s early morning productivity, it’s time to start making plans for February. What can you expect to see next month?

Starting February 10th, the Proper Bard Podcast goes into History Mode, as it’s time to understand what happened to allow me to get to the point in a career that still defines me as an ‘Early State Creative’. There’ll be a chance to share my first publication poem (and the fact it got a round of applause at the time) plus my adventures in local borough history. That will keep us going well into March and possibly beyond…

Then it is high time I updated my YouTube Channel, which we will ‘soft relaunch’ with an upgrade for my Introductory Video. It’s a lovely excuse to flex creative muscles in ways I don’t normally have time to do, plus on this occasion I’ve written a poem to accompany the pictures, because honestly that’s what I do for everything now. You can expect to see this premiering sometime after I have my first proper break post-Pandemic… let’s say after the 21st. I refuse to be more precise than that.

#HashtagPoetry will continue, and I’ll also get back to poetry reviewing and wibbling about the World, which at present could easily be a full-time job if someone was prepared to pay me for it. Oh, and at the end of this month, expect a small passion project to emerge surrounding the subject of Imaginary Band Names…

Hashtag Poetry #13

Every day in 2022 I’ll post six lines of unique poetry on Twitter, and then archive it here for posterity with some additional observations. Here is Poem #13:

I’ve just stopped for lunch at almost 2.30pm. Today has been full-on: three Zoom meetings, a workout session and a Podcast recording. I have no chance to feel sad on Blue Monday, there’s too much left to still be organized for that… plus I’ve bought underwear that I finally feel really comfortable in! Quick, order some more before you forget!

HOW TO TWITTER #3: Are You a Robot?

I'm sitting here, faffing with some stuff before I go make lunch, and I get a Follow notification. As is always the case, I go look at who it is, and then realise that there's a 99% certainty I just got followed by a robot.

Here's how I check the validity of followers 😀

It's another of my 'How to Twitter '22' Handy Dandy Guides. Time to play 'Spot the Robot Follower!'

Say hello to Nancy Donald. I’ve highlighted five things about Nancy’s profile that make me think twice about following her. They are:

1. The Avatar
2. The Username
3. Their ‘Description’
4. Followers and Following
5. They don’t follow anyone I do [WARNING KLAXON]

This is Nancy Donald's Twitter header, which I've marked with five potential red flags, as detailed in the Tweet itself.

1. Lovely lass. If I used Google Lens, I wonder if I could find out who this really is… you’d be surprised what searching people’s avatars can turn up. In this case, no matches, but this is the standard warning that what you see is not necessarily what is real 😀

Sometimes you don’t need a programme, a human being is far superior ❤

2. A username with numbers after it is a good indicator of a new account. I suspect this account has been created in the last 72 hours (and yes, look, account was created January 22) It must be said at this point that many older Twitter users have numbers after their names. Why? Because, in many cases, they see no need to change their names, or they do not know how to. It is reasonably easy with other checks to work out the difference. This all boils down to you making informed decisions over whom you follow and how you then interact with them.

3. I like a good positive affirmation, and in this case you KNOW you're not being sold something… except, of course, you are. Robots hide in people's feeds to avoid detection and to propagate disinformation. that's why who they follow and who is following them is so important.

4. Is the killer. The eight people who follow them are as far away from my interests and ideals as it is possible to get. Looking at their Likes and their media, there is no actual interaction at all with anything I’d consider as normal or indeed compelling to me.

Finally, 5 goes without saying really. yes, at some point you will be followed by people who don't follow anyone else you do. It's how small becomes huge in this space. However, if you take the time to look at the follows when you are small… you can make this a better place.

If Twitter will not (and in many cases simply cannot) police accounts fast enough, learning how to report the wrong-uns yourself is a useful way not simply of keeping this space useful, but weeding out those only interesting in impersonation and disruption.

I know what to do.

Yup, I lose a follower.

However, I stop this person scraping MY feed, and using me a hiding place.

When was the last time you actually checked who you follow?

/ends

I have blocked @NancyDo40742302 and I'm fairly confident you should too.

Originally tweeted by Another 🗨️ Reeson 💭 to start 2022 💬 STRONGER (@InternetofWords) on January 16, 2022.

Hashtag Poetry #10

Every day in 2022 I’ll post six lines of unique poetry on Twitter, and then archive it here for posterity with some additional observations. Here is Poem #10:

This was the ice on my car roof at 7.30am, and I felt if I didn’t take a photograph of it there and then, nobody would believe that something so beautiful could have happened on something so unexpected. Some days, it is moments like this which grant me the ability to push through adversity. I was very grateful for the art. It could be leaves or feathers: nature duplicates the Universe, and the Universe in turn grants infinite complexity to the natural world.

Pick up some rubbish today, and recycle something problematic. If you don’t save the Planet, no-one will.

REVIEW: All the Men I Never Married by Kim Moore

It occurs to me that I should start this with a confession: I am a proper fan of Kim’s work. This makes me a 100% living and breathing embodiment of that kind of person who genuinely gets a bit flustered and embarrassed whenever I’m in the same Zoom space as them. Laureate knows what would happen if I’m lucky enough to meet them in reality, I’ll probably spontaneously combust, leaving only ash in my wake… needless to say there’s a remarkable amount of admiration and respect amongst the Fangirling, as that’s what this is. I saw poems from AtMINM at a virtual reading before the collection was published. It was obvious then it would be a watershed collection, and this absolutely is.

Of the 48 pieces and one stark poem of introduction, this is a pretty brutal and, by extension, brave and brilliant treatise on what it is like to be a woman in a man’s world, for that is where most women are forced to exist. There are asides to Kim’s time working in a male prison [Number 30] or as a teacher [Number 20], but the moment when a night out becomes a flashpoint [Number 6] brings home with almost painful force the way in which women are treated, used and often summarily left behind once men decide to dictate circumstance. It also grants perspective in hindsight to events that were loaded but only gained significance after the fact [Number 7] and how, in the depths of fear only women will really understand, normality can run its course and pull you further into despair [Number 38].

I read the reviews on the back of the book and found myself wishing they weren’t nearly as polite or prosaic, because this is an unflinching, brutal and absolutely necessary set of moments I’d give to every problematic male friend ever encountered before forcing them to read the lot, then making sure they properly grasp how much damage men do to women, mostly without ever realizing it is the case. It also makes me want to go back to paragraph two and put a line through the world ‘brave’, because Kim’s words are so much stronger than that, especially as you spend more time inside the collection. It’s an album of Polaroid moments, caught at the second when beauty became danger: only the poet really understands the significance of the exposure… you’re granted a second of insight, but no more.

[Number 42] is perhaps the most affecting piece of all: even with one word blocked out, it still invades your consciousness, and you are unable to look away. It is the reminder that consent remains absolutely vital and permission must always take precedent. It also shows that you don’t need to know what abuse looks like or the names we give it to understand how frightening and condemning the male gaze remains, and how control is passively exerted in the most casual of circumstances. As a poet, I don’t think I’ve read anything as affecting or stimulating for many years: it asks me to look at my own experiences with this same fresh, uncompromising attitude, and I will continue to do so for some time to come.

The very best written work always demands something from its readers: not just to listen and consider the concepts presented, but to question their relevance, asking questions which arise from the process. There is so much to learn from these narratives, for that’s what they are: tiny moments of misogyny, anger, abuse and advantage exploited, taken then discarded. Those pictures are so much more than just their surface descriptions, after all, moments where we can see past the words, between and beneath the lines. I truly hope Kim is granted all the accolades and critical plaudits for this book: it won’t change the reality however that all women deserve and demand better. These testimonies should always be unnecessary, and redundant, and yet they keep on being repeated.

If you buy one collection this year to make you think, make it this one, because it absolutely demands your attention.

Unfortunately

This was sent to me today to read after I got a rejection from a Contest which *technically* I did not enter. I wrote poems for the same academic site, they sent me the essay rejection letter.

I still failed, right ? 😛

iamhyperlexic

We were very excited to receive your submission for issue #6 of ‘Face Grinder’. It was edgy, contemporary, and sharp. Everybody in the editorial office read it and we all enjoyed it. I think we each drew something important from it, and not just in considering its innovative narrative mode, vivid characterisation, and page-turning story.

The character of Jason particularly struck a chord with Viv, our marketing manager, whose son suffers from bi-polar disorder. Viv showed your story to his son’s therapist, who has used the narrative arc of Jason’s recovery to devise a new way of looking at the son’s condition. It really seems to be working. The son has stopped gambling excessively and harming himself, and has an interview lined up for a job as a reporter with the local paper. This could be the start of a new life for him.

Alison, our trainee editor, applied your…

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More of the Same

I’ve not done an actual update here for a while, and therefore it seems like the right moment to bring people up to speed, as November is going to be a busy month for me in many ways.

In the next four weeks, you’ll see me in two new online spaces: I’ll announce them both formally when they happen, but I’m very pleased about both. Having performed at the Gloucester Poetry Festival last week on an Open Mic I have another event next week, plus a Flight of the Dragonfly appearance on Tuesday. It’s all part of the daily process of improvement and growth, and I’m enjoying it greatly.

This year I’m also spending the entirety of November doing NaNoWriMo and attempting to encourage new people to support my writing efforts via Ko-Fi. So, you can expect to see a bit more of me around here than has been the case of late too… and if I’m not here you can guarantee I’ll be in the Gym 😀

I look forward to an exciting and enriching time all round.

Back For Good

I’m finally in my new office (though I do have to keep referring to it as ‘the’ office as so to not cause a demarcation dispute ^^) but without any actual permanent furniture: that doesn’t arrive for a few months yet. What this does mean is an uninterrupted space in which to both work and (crucially) record audio. Therefore, starting on Monday, we should have #Instaverse for you all, back on the Monday-Friday schedule.

The benefits of writing like this, first thing every day, are absolutely not to be ignored. Like any professional, a daily practice is CRUCIAL to my progression as a writer. As everything has been very much up in the air since July, it seems largely pointless to fill in the blog post gaps, and so we’ll start again with those on Monday too, as they can be completed when I’ve finished writing/recording the poems.

I hope you enjoy the return to routine as much as I know I will.

Famous Blue Metaphor by S. Reeson for “Before I Turn Into Gold” Online Leonard Cohen Anthology

Here’s a poem I wrote especially for Fevers of the Mind.

I hope you enjoy it as much as I enjoyed writing it 😀

Fevers of the Mind

(c) Geoffrey Wren

Famous Blue Metaphor

They came here, via Jennifer Warnes;
never breathed a Hallelujah until CJ Cregg’s
love interest took a bullet for the narrative…

presented, other person’s metaphor
vinyl pressed, missing pieces
sold, collectively unconscious, marked
as nothing ever really worked for me

tried, but it was closing
Doors or Joni Mitchell, other artists
found as empathy, except that artistry
would never leaf within, heart beating
differently to him

                                                                accept
unable to escape
                                                                two lines

because the first that shifted, was the station
one of those I am and still remain

mind will not escape his confirmation
went to take Manhattan, camera holding
something more than lyrical behest

poet’s ideal
buried, in their chest.

Bio: S Reeson [she/they] is 54 and is a multidisciplined artist who has suffered with anxiety since childhood. Poetry has become a means by which feelings that previously could not be discussed are

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