'What is your home?' A stranger asks.

Home (for you, my love)

Home?

No. Not what I once named it. Not walls, nor roads remembered by the body’s tired return.

Home has slipped its geography. It no longer answers to maps.

Listen, I will tell you, my friend, of a home with no address, no door, no fixed sky...

only a mind.

The mind.

Yours.

Where I wander like a pilgrim without sleep, touching the edges of your thoughts as if they were holy cloth.

I left a place once called home; a source, perhaps, a well I drank from without ever being quenched.

What is a home if the heart refuses it? If it does not loosen there, does not lay down its armor, does not breathe?

No—

Home is not where a man hangs his hat.

It is where he loses himself entirely.

And mine... mine is not here.

Not fully.

It is cleaved. like light through glass, like a prayer spoken in two languages—

here, and there, and in the terrible distance between.

You...

You are my home.

I have driven whole nights through the dark of myself to reach you,

whispering your name like a rhythm against the wheel, like a vow I could not break if I tried.

I would come to you in the hour when breath is deepest, when the world forgets itself—

not to wake you, but to feel you there, to exist in the same quiet as your dreaming body.

That would be enough. God— that would be everything.

There:

in that imagined room, in that borrowed closeness,

I am unafraid.

My demons do not follow. My doubts cannot cross the threshold.

There is only the heat of being known, the slow unraveling of all I pretend to be, the dangerous relief of becoming myself in the presence of you.

Amber-eyed, ocean-removed, twelve hundred leagues of absence and still

you are nearer to me than my own hands.

What is this place we make without touching?

What is this fire that asks nothing and takes everything?

I live there in the thought of you, in the shape of your name inside my mouth, in the quiet confession of wanting.

And one day—

if the world is merciful, or cruel enough

here and there will collapse into one,

and I will stand beside you with nothing left to lose,

and say, at last,

not as metaphor, not as longing—

but as truth:

I am home.

---

#poetry #wyst

Home is where you find it—and yourself.

When I flew from at the start of December last year (2025), I expected a respite. A break. A sabbatical. To return to it recovered and refreshed—a slightly different man, perhaps—but one back at home in any case, ready to take over the world.

Or at least content to continue existing in it. I realized in leaving that... I had already left emotionally many months earlier.

---

Home… where a man hangs his hat. Where the heart is. Everyone calls someplace home. Even when we no longer have an address, we have something—some place—we know as home.

A place we are from, if nothing else.

I've been on the road for months. Four, to be precise. I set foot, in whole or part, in ten countries—living for a time in eight: Portugal, Spain, France, Italy, Switzerland, Liechtenstein, Germany, and Ireland—before landing back stateside in Florida.

Talk was always about “when we get back home” and “since we left home.” In time, homesickness set in for my wife.

But for me, it never came calling.

For weeks, home was just a shorthand word for comfort and routine. Knowing where my toothbrush was kept. How far it was to the grocery store. Hell—where the grocery store even was. It meant something familiar was left behind.

But it also meant leaving something else behind—something heavier.

A feeling of emptiness. Frustration. Aggravation. Sitting 5,000 miles away alongside friends and family.

Home wasn’t just convenience.

It was negativity. It was frustration. It was a place from which to escape.

And at first, that’s exactly what this exodus was—an escape from the ordinary into the extraordinary. Everything was new. Exciting. Overwhelming.

But by week five, settled into a rhythm in Spain, I realized something unsettling:

the old demons hadn’t been left behind on some dusty shelf.

They had come with me.

Tucked neatly into the shadowed places of my heart and mind.

Family and friends... the familiar... were behind me, yes—but not gone. Through messages, calls, and photos, I found that those I loved most were still with me on the journey.

And stranger still—the new faces I met didn’t replace the old ones.

My heart grew, and my life to include them... My home grew bigger still.

---

And as old routines dissolved and new ones took shape—figuring out transit, where to shop, how to live—I began to understand something I hadn’t before:

Home isn’t where I am.

It is intangible and carried:

In my mind and heart.

This was something new. Something else.

Especially for her.

I live a reality of expectations and obligations—but my heart and mind move in another realm. One that is loyal. Passionate. Entirely hers.

Even thousands of miles away, my wanting is with her.

My thoughts—every day.

I wake and sleep with her as the first and final presence in my mind.

So when a stranger asks, “Where are you from?”

I give them a myth... something to chew on and relish in. More description of past than present.

Or future.

It is answering a deeper question:

Where does the soul return to, when there is nowhere left to go?

And for me—

home is no longer a place on a map.

It is a convergence.

Of memory. Of longing. Of love.

Of that which I carry, and refuse to let go.

Home, is hope.

---

#poetry #wyst

I shifted some poetry chapbooks to the top of my TBR stack in honor of National Poetry Month, and I've been enjoying the change in pace. I always try to read a mix of novels and short story collections, but my usual reading is definitely very fiction heavy, and it's fairly rare for any nonfiction or poetry to slip into the mix. This is, in part, because I'm often not just reading for enjoyment. That's part of why I read, but I also see every book as an opportunity to learn—to see what kinds of stories other people are telling, or to pick up tricks of the trade, or get ideas for how to do things better in my own stories. 

What I need to remember, though, is that fiction writers can also learn a lot from reading outside their genre. I've been aiming to keep the same craft-focused mindset when I'm reading poetry chapbooks, and I think I’ve picked up some useful tidbits. So, of course, figured I’d come share them with yinz.

Economy of language

Epic poems exist, but the majority of them are just a page or two long. From a wordcount perspective, they tend to stay comfortably in the flash fiction range, or even down in the micro- and nano-range. If you write in those lengths—or if you perpetually struggle to write flash because you can't seem to make a story stay short enough—then you can't find a better model for maximizing limited real estate than a well-written poem. 

Poets do two things especially well that allows them to build characters, scenes, and big emotions without a lot of words. The first is that they're exacting in the words they do use. As a rule, poets are much more likely to search out the single specific, perfect word to convey their meaning than the average fiction writer (although, unsurprisingly, flash and micro writers tend to be experts in this area, as well). Speculative writers in particular can benefit from honing this skill because it can do more than limit the length of your descriptions. It can also prevent the need for info dumps to fill in world details when you can use the language of the story itself to make the reader feel immersed in your story's reality. 

The second big thing poets do to keep things short: they understand subtext and implication, and trust their readers to figure things out without needing their hand held. This is another area where I struggle sometimes, and I think speculative writers especially are often prone to over-explaining. It can be tricky to strike the right balance, where you give readers enough information to fully picture the world you created without overwhelming them and bogging the story down with unnecessary details. This doesn't just happen with worldbuilding details, either. Themes and character backstories are also prone to this kind of over-explaining, and it can make readers feel hammered over the head in addition to adding unnecessary words that slow the pace. It's counter-intuitive, but readers actually feel more immersed in and connected to what they're reading when you give their imagination some space to play. 

Rhythm and meter

Poets think about words in a different way than most fiction writers. One way that manifests is that they're usually way more tuned in to the more musical aspects of language, like the rhythms created by the arrangement of stressed and unstressed syllables, and the punctuation and line breaks used to separate them. 

I tend to think about rhythm on a more macro-level, but there are definitely times that it can benefit a fiction writer to pay attention to the line-by-line rhythm. When you do, you can use the language to make the reader linger over a key image or moment, or give them a rushed, breathless feel that pushes them forward through fast-paced action sequences. 

Poets do have different tools at their disposal, line breaks being the big one. But fiction writers can make use of different sentence lengths and paragraph breaks to achieve similar effects. In a poem, a series of short lines creates a staccato feel, or a single word or phrase can be set on its own line to highlight it. The prose equivalent would be using very short, simple sentences, or using occasional one-sentence paragraphs that stand out from the longer stretches of text around them.

When a poem has consistent line lengths and stresses, that creates a steady rhythm that the reader settles into, to the point it's jarring when it's broken. Fiction writers can mimic this. For instance, let's say you want to set the scene of a normally peaceful suburban home that's just been the setting of a tragedy. You could describe the typical parts of the house using similar sentence lengths and structures, then break that rhythm for details related to the tragedy, mirroring the way that event broke the sameness of daily life in the house. 

Repetitions and refrains

I'm weirdly enamored with poetic forms like the villanelle, pantoum, or sestina that use repeated words or lines as touchstones. When this is done well, it can create a feel of dwelling on or obsessing over a concept, or convey the sense of a narrator who feels stuck or trapped. This isn't the only way that repetition gets employed in poetry, of course, and it doesn't have to mean direct repetition of words or lines. A recurring image can serve the same function, especially when that image evolves over the course of the poem to reflect changes in the speaker. 

This is a concept that fiction writers can steal wholesale from poets. And many already do. The first one that pops to my mind is always Chuck Palahniuk, whose books frequently have a refrain that runs through them. In Fight Club, for instance, there's the repeated aside start with “I am Jack's”—I am Jack's Medulla Oblongata, I am Jack's complete lack of surprise, etc. It becomes a kind of chorus commentating on the narrator's mental state. Another example is Slaughterhouse-Five, where Kurt Vonnegut repeats “so it goes” over a hundred times, a kind of fatalistic mantra that punctuates key moments. 

This is one of those approaches you don't want to go overboard with, because too much repetition can make a story tedious to read. But selective repetition can be very useful for fiction writers. It functions as an anchor and flag for the reader, helping them to make the right connections between scenes, characters, and themes. 

The sound of language

One of the cool things about poetry is that the experience of reading it on the page can sometimes be very different than that of hearing it read aloud. Some poems are intended for spoken performance more than silent reading. Obviously this is an area where it's poet-by-poet, but as a rule this is another area of language that poets think about a lot, and fiction writers usually neglect. 

I'm not necessarily thinking about things like rhyme or alliteration when I say this, although those are certainly tools that fiction writers are allowed to play with, too. More, it's about understanding how the sounds of words flow together or don't. And the best way to get a sense for that is to do what poets do and read your work aloud. Any places where you stumble or have to slow down, a reader will likely do the same thing, even if they're just reading in their head. There are times you might want to create that effect intentionally, but it's not something you want happening by accident. 

Speculative fiction writers in particular often need to think about how words sound, specifically when you're naming characters, places, and objects distinctive to your world. One of my pet peeves when I'm reading sci-fi or fantasy stories is when the author signals something is alien or supernatural by overloading its name with uncommon letters like X or Z without thinking about that name looks or sounds to the reader, or whether that look/sound matches with how that thing should come across.

When you're using an invented word, the reader relies on sound as well as context to understand its meaning, and you want to use this to your advantage. In Lord of the Rings, for instance, the elves have flowy-sounding names like Galadriel and Legolas, while the dwarves' names are more blunt (Gimli, Bifur, Thorin) and the Orcs' names use harsher sounds (Azog, Gothmog, Ugluk). How a word sounds gives the reader clues that frame their expectations. Granted, you can always defy that expectation if you want to, but that should still be an intentional choice. 

---

I'm going to make a conscious effort to work more poetry chapbooks into my reading list even after April's over. I've been reading a lot of hefty sci-fi and fantasy books lately, so inserting a quick little chapbook in between I think could be a nice little palate cleanser and hit of the reset button. That's what's nice about chapbooks in general, too—they don't take too long to read, so you can give one a try without needing to invest a ton of time in the experiment. And, if you do find a poem or two that speak to you, you can take a bit more time and let yourself linger over them and dig into what the piece is doing that caught your attention. 

I'll also say you don't have to read an entire book from one author. There are loads of free literary journals across the internet publishing spectacular poetry across genres, including an increasing number of sci-fi and fantasy poetry publishers like Star*Line and Dreams & Nightmares. These can be an easy way to start if you're a fiction writer looking to learn and get fresh inspiration from poetry. 

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#WritingAdvice #Poetry