your finger transcends my melodic soma / among the unconscious hearts do we lay / your palm melts into my last rib (1 min read)

Upon entering a place of worship, I feel. My stomach loops and my lungs expand over my heart. As I try to locate the ceiling, I am entrapped by a force. A force that makes me question whether my position on this earth is true or compelled. What is this feeling? Is there a God? Why Him? (9 min read)

Stanley Kubrick’s transformative ability to illustrate emotion, depth, and dramatics in his 1975 film Barry Lyndon is what challenges Aristotle’s extensive criteria for a tragedy. Kubrick not only creates a film that incorporates each of Aristotle's six tragic elements: plot, characters, diction, thought, spectacle, and melody but explores other realms of storytelling through acute artistic expression and philosophical narratives. Stanley Kubrick’s Barry Lyndon pioneers a new standard for tragedy, deeming him the Aristotle of the 20th century. (11 min read)

- Christ, you have my head - may we meet again - in the garden of thorns - behind the red curtains - amidst the blue rays - goodbye for tonight - (2 min read)

A beautiful thing happens when two people lose focus on each other and discover it on a screen. I don’t need someone in order to watch a movie, but without them, something is amiss. We communicate through thought and signal. On occasion, during the act, of course, we acknowledge a profound, intellectually stimulating detail verbally. And yet, we still prefer to let the space between us do the talking. (5 min read)

The endless fields of white calla lilies tainted with the blood of his  (1 min read)

I wonder if you realize that it is my intention to sound obscure and arguably illiterate. It’s an art form. An art form that derives from the one of David Lynch. I hope you don’t think that I am incapable of following the conventional standards of the English language. I am. I choose not to. And that’s the definition of art. My choices are art. My words are art. Even if they don’t make sense, know they were placed with intention. Every single thing I write, I write with intention. And you know that. Because that’s all I talk about. (6 min read)

There is nothing about this scene that is impressive. Not one thing about it references its place of creation. That’s why you keep thinking this is a European painting. A European painting painted by a European painter. (4 min read)

I am not trying to confuse you. I am not trying to write like Gogol. It just so happens that I write like Gogol and Gogol wrote like me. (3 day read)

In Hesiod’s Theogony, the Gods' livelihood is filled with subtleties of misogyny. In a nuanced exploration of familial ties concerning Kronos, Hesiod explains, “Rhea, being forced by Kronos, bore the most brilliant offspring to him: Hestia” (Hesiodos 38). Although a particularly easy detail to miss, the word “forced” in this sentence alludes to rape. The usage of words like “forced” or “knew” (Coogan et al.) works to disguise vulgar actions like violation or intercourse. Negligible details embedded in the depths of the language are only to be found when intimately analyzed from an unbiased literary lens. Rape creates a deeply abhorrent state of dehumanization, yet another example of the repugnant objectification of women.  (10 min read)

Every one of Caravaggio’s faces always reminds me just how much I want to work with his art and those of his contemporaries. The way his faces look at me with the wetness in their eyes. As if he figured out a way to capture their souls along with every single hair on their body. It is only until I prattle about the Renaissance where people can really grasp my love for the arts. I. Love. Art. And for some reason I still don’t have a shirt that says so. But thank god I have the Met. And thank god I work at a museum and get free admission to every other one in the city. Or maybe thank Caravaggio. Yeah, I thank him. Him and all the other artists that I love. Thank you to all the artists who have exposed me to truly unique and unreplicable talent. (6 min read)

This essay, as you will slowly learn, claims that the meta-expression used by Pablo Neruda in his piece “Poema 20” can also be found among completely unrelated works. This idea will be explored through a broadened artistic lens that allows its audience to question how frequently meta-expression presents itself in their lives. (7 min read)