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To the people who look at the stars and wish āØ

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Night.
I have the power to create change šøš»š·
āI donāt know half of you half as well as I should like; and I like less than half of you half as well as you deserve.ā ā J.R.R. Tolkien
Insides by Miles Johnston

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āThe only magic we have is what we make in ourselves, the muscles we build up on the inside, the sense of belief we create from nothing.ā ā Dorothy Allison āNote to self: remember What Emerson said Of Thoreau- That he loved the low In nature: Ā Ā Ā Ā Ā Muskrats And crickets, suckers And frogs. Ā Ā Ā Ā Ā Ā Ā Not stars. Songs of the carnal, Songs of what we are.ā ā Greg Orr, River Inside the River
Foxglove (Digitalis purpurea)
Folklorists are divided on where the common name for Digitalis purpurea comes from. In some areas of the British Isles the name seems be a corruption of "folksglove," associating the flowers with the fairy folk, while in others the plant is also known as "fox fingers," its blossoms used as gloves by the foxes to keep dew off their paws. Another theory suggests that the name comes from the Anglo-Saxon word foxes-gleow, a "gleow" being a ring of bells. This is connected to Norse legends in which foxes wear the bell-shaped foxglove blossoms around their necks; the ringing of bells was a spell of protection against hunters and hounds.
Foxgloves give us digitalin, a glysoside used to treat heart disease, and this powerful plant has been used for heart tonics since Celtic and Roman times. Botanist Bobby J. Ward gives us this account of early foxglove use in his excellent book A Contemplation Upon Flowers:
"An old Welsh legend claims to be the first to proscribe it, because the knowledge of its properties came to the meddygon, the Welsh physicians, in a magical way. The legend is loosely based on the early 13th century historical figure Rhiwallon, the physician to Prince Rhys the Hoarse, of South Wales. Young Rhiwallon was walking beside a lake one evening when from the mist rose a golden boat. A beautiful maiden was rowing the boat with golden oars. She glided softly away in the mist before he could speak to her. Rhiwallon returned every evening looking for the maiden; when he did not find her, he asked advice from a wise man. He told Rhiwallon to offer her cheese. Rhiwallon did as he was told, the maiden appeared and took his offering. She came ashore, became his wife, and bore him three sons.
"After the sons grew and the youngest became a man, Rhiwallon's wife rowed into the lake one day and returned with a magic box hinged with jewels. She told Rhiwallon he must strike her three times so that she could return to the mist forever. He refused to hit her, but the next morning as he finished breakfast and prepared to go to work, Rhiwallon tapped his wife affectionately on the shoulder three times. Instantly a cloud of mist enveloped her and she disappeared. Left behind was the bejeweled magic box. When the three sons opened it, they found a list of all the medicinal herbs, including foxglove, with full directions for their use and healing properties. With this knowledge the sons became the most famous of physicians."
Foxglove is a plant beloved by the fairies, and its appearance in the wild indicates their presence. Likewise, fairies can be attracted to a dometic garden by planting foxgloves. Dew collected from the blossoms is used in spells for communicating with fairies, though gloves must be worn when handling the plant as digitalis can be toxic. In the Scottish borders, foxgloves leaves were strewn about babies' cradles for protection from Ā bewitchement, while in Shropshire they were put in children's shoes for the same reason (and also as a cure for Scarlet Fever). Picking foxglove flowers is said to be unlucky. Here in Devon and Cornwall, this is because it robs the fairies, elves, and piskies of a plant they particularly delight in; in the north of England, foxglove flowers in the house are said to allow the Devil entrance.
In Roman times, foxglove was a flower sacred to the goddess Flora, who touched Hera on her breasts and belly with foxglove in order to impregnate her with the god Mars. The plant has been associated with midwifery and women's magic ever since -- as well as with "white witches" (practitioners of benign and healing magic) who live in the wild with vixen familiars, the latter pictured with enchanted foxglove bells around their necks. Ā In medieval gardens, the plant was believed to be sacred to the Virgin Mary. In the earliest recordings of the Language of Flowers, foxgloves symbolized riddles, conundrums, and secrets, but by the Victorian era they had devolved into the more negative symbol of insincerity.
A lovely old legend told here in the West Country explains why foxgloves bob and sway even when there is no wind: this is the plant bowing to the fairy folk as they pass by. The spires of foxgloves growing on our hill mark it out a place beloved by fairies, a land filled with riddles, secrets, and stories. I walk its paths, listen to the tales, and then do my best to bring them back to you.
Vulpes vulpes
In the Scandinavian countries, foxes were believed to cause the northern lights.  These aurora were called  "revontulet" in Finland, meaning "fox fires".  Foxes sometimes replaced cats as witch“s familiars in medieval European folklore, and were occasionally persecuted in the resulting hysteria.  The Japanese revered foxes as the divine messengers of Uka no Mitama, the Shinto rice goddess, although tales were also told of evil Japanese foxes that could possess people. Many cultures have stories about shape-shifting "werefoxes".  In China and other Asian countries, werefoxes were demons that prolonged their lives by seducing humans and feeding off their souls.  A variation of this theme is a myth common among the Siberian Koriak people, the Inuit, and various tribes of native North Americans. "The Mysterious House Keeper", tells of a fox that entered a hunter“s house and removed its skin to become a beautiful woman. When the hunter returned, he found that the woman had cleaned his house and he decided to marry her.  The bliss was short lived, however, as the hunter began to complain about his wife“s smell.  Her feelings hurt, she transformed back into a fox and ran away.
Some of the best known classic fox literature was written over 2,500 years ago by Aesop.  His fables told stories about various intelligent animals, and were used to convey a moral point to the reader.  Because of their craftiness, beauty, and solitary nature, foxes figured prominently in these fables whenever deceit, pride, or individuality was necessary to the story.  One such fable is The Fox and the Grapes.  In it, a red fox finds itself in a vineyard and tries to feed on the grapes hanging on the vines.  Despite its best efforts, the fox just can“t reach the fruit and gives up in frustration.  He saves face and consoles himself by saying the grapes were probably sour any ways.  The moral of the story is that people often badmouth things they can“t have.  Like many other of Aesop“s fables, the story gave rise to a popular expression (sour grapes) or proverb.  With the possible exception of the lion, few other animals are mentioned as often by Aesop as the fox is.
Both clever and foolish, creative and destructive, perfectly civilized and utterly wild. Trickster foxes appear in old stories gathered from countries and cultures all over the world -- including Aesop's Fables from ancient Greece, the "Reynard" stories of medieval Europe, Ā the "Giovannuzza" tales of Italy, the "Brer Fox" lore of the American South, and stories from diverse Native American traditions...
...but at the darker end of the fox-lore spectrum we find creatures of a distinctly more dangerous cast: Reynardine, Mr. Fox, kitsune (the Japanese fox wife), kumiho (the Korean nine-tailed fox), and other treacherous shape-shifters.
Fox women populate many story traditions but they're particularly prevalent across the Far East. Fox wives, writes Korean-American folklorist Heinz Insu Fenkl, are seductive creatures who "entice unwary scholars and travelers with the lure of their sexuality and the illusion of their beauty and riches. They drain the men of their yang -- their masculine force -- and leave them dissipated or dead (much in the same way La Belle Dame Sans Merci in Keats's poem leaves her parade of hapless male victims).
"Korean fox lore, which comes from China (from sources probably originating in India and overlapping with Sumerian lamia lore) is actually quite simple compared to the complex body of fox culture that evolved in Japan. The Japanese fox, or kitsune, probably due to its resonance with the indigenous Shinto religion, is remarkably sophisticated. Ā Whereas the arcane aspects of fox lore are only known to specialists in other East Asian countries, the Japanese kitsune lore is more commonly accessible. Tabloid media in Tokyo recently identified the negative influence of kitsune possession among members of the Aum Shinregyo (the cult responsible for the sarin attacks in the Tokyo subway). Popular media often report stories of young women possessed by demonic kitsune, and once in a while, in the more rural areas, one will run across positive reports of the kitsune associated with the rice god, Inari."
(To read Heinz's full essay on "Fox Wives & Other Dangerous Women," go here.)
There are tales of fox wives in the West as well, but fewer of them; and they tend, by and large, to be gentler creatures. (To marry them is unlucky nonetheless, for they're skittish, shy, and not easily tamed.) An exception to this general rule can be found in the rƤven stories of Scandinavia. The fox-women who roam the forests of northern Europe are portrayed as heart-stoppingly beautiful, fiercely independent, and extremely dangerous.
(Fox Woman by Susan Boulet)
(Little Elvie in the Wild Wood by Catherine Hyde)
The "nine-tailed fox" of China and Japan is often (but not always) a demonic spirit, malevolent in intent. It takes possession of human bodies, both male and female, moving for one victim to another over thousands of years, seducing other men and women in order to dine on their hearts and livers. Human organs are also a delicacy for the nine-tailed fox, or kumiho, of Korean lore -- although the earliest texts don't present the kumiho as evil so much as amoral and unpredictable...occasionally even benevolent...much like the faeries of English folklore.
In the West, it's the fox-men we need to beware of -- such as Reynardine in the old folk ballad, a handsome were-fox who lures young maidens to a bloody death.
Mr. Fox, in the English fairy tale of that name, is cousin to the kumiho and Reynardine, with a bit of Bluebeard mixed in for good measure, promising marriage to a gentlewoman while his lair is littered with her predecessors' bones. Neil Gaiman drew inspiration from the tale when he wrote his wry, wicked poem "The White Road":
There was something sly about his smile, his eyes so black and sharp, his rufous hair. Something that sent her early to their trysting place, beneath the oak, beside the thornbush, something that made her climb the tree and wait. Climb a tree, and in her condition. Her love arrived at dusk, skulking by owl-light, carrying a bag, from which he took a mattock, shovel, knife. He worked with a will, beside the thornbush, beneath the oaken tree, he whistled gently, and he sang, as he dug her grave, that old song...
shall I sing it for you, now, good folk?
Jeannine Hall Gailey, by contrast, casts a sympathetic eye on fox shape-shifters, writing plaintively from a kitsune's point of view in "The Fox-Wife's Invitation":
These ears aren't to be trusted. The keening in the night, didn't you hear? Once I believed all the stories didnāt have endings, but I realized the endings were invented, like zero, had yet to be imagined. The months come around again, and we are in the same place; full moons, cherries in bloom, the same deer, the same frogs, the same helpless scratching at the dirt. You leave poems I canāt read behind on the sheets, I try to teach you songs made of twigs and frost. you may be imprisoned in an underwater palace; I'll come riding to the rescue in disguise. Leave the magic tricks to me and to the teakettle. I've inhaled the spells of willow trees, spat them out as blankets of white crane feathers. Sleep easy, from behind the closet door I'll invent our fortunes, spin them from my own skin. Although chancy to encounter in myth, and too wild to domesticate easily (in stories and in life), some of us long for foxes nonetheless, for their musky scent, their hot breath, their sharp-toothed magic. Ā "I needed fox," wrote Adrienne Rich:
Badly I needed a vixen for the long time none had come near me I needed recognition from a triangulated face Ā Ā burnt-yellow eyes fronting the long body the fierce and sacrificial tail I needed history of fox Ā Ā briars of legend it was said she had run through I was in want of fox
And the truth of briars she had to have run through I craved to feel on her pelt Ā Ā if my hands could even slide past or her body slide between them Ā Ā sharp truth distressing surfaces of fur lacerated skin calling legend to account a vixen's courage in vixen terms
(Full poem here.) Ah, but Fox is right here, right beside us, Jack Roberts answers, a little warily:
Not the five tiny black birds that flew out from behind the mirror over the washstand,
nor the raccoon that crept out of the hamper,
nor even the opossum that hung from the ceiling fan
troubled me half so much as the fox in the bathtub.
There's a wildness in our lives. We need not look for it.
(Full poem here.)
There are a number of good novels that draw upon fox legends -- foremost among them, Kij Johnson's exquisite The Fox Woman, which no fan of mythic fiction should miss. I also recommend Neil Gaiman's The Dream Hunters (with the Japanese artist Yoshitaka Amano); Ā Larissa Lai's When Fox Is a Thousand; and Ellen Steiber's gorgeous A Rumor of Gems (as well as her heart-breaking novella "The Fox Wife," published in Ruby Slippers, Golden Tears). Alice Hoffman's disquieting Here on Earth is a contemporary take on the Reynardine/Mr. Fox theme, as is Helen Oyeyemi's Mr. Fox, a complex work full of stories within stories within stories. For younger readers, try the "Legend of Little Fur" series by Isobelle Carmody. And for mythic poetry, I especially recommend She Returns to the Floating World by Jeannine Hall Gailey and Sister Foxās Field Guide to the Writing Life by Jane Yolen.Ā
For "hope" and "goodness," it seems to me, are too often portrayed as banal, Pollyanna-ish qualities, when in fact it takes great courage and clarity of mind to reject despair, reach for the light and make something beautiful and whole out of lives and times so dark and fractured.
'Hope asserts the goodness of life in the face of its limits.' Hope does not require a belief in progress or prevent us from expecting the worst but, rather, hope 'trusts life without denying its tragic character. Progressive optimism, often confused with hope, is based on a denial of the natural limits of human power and freedom -- a blind faith that things will somehow work out for the best. It is not an affective anecdote to despair.' Those who challenge the status quo and support the popular uprising Ā for social justice 'require hope, a tragic understanding of life, the disposition to see things through.' Hope is what we need."
The art today is by Flora McLachlan, a printmaker born in Sussex and now based in Pembrokeshire, West Wales. "My pictures are records of things seen and imagined by twilight or moonglow," she writes. "I take inspiration from my studies of English literature, myth and legend. I try to express a sense of the enchantment I feel is embedded in our ancient landscape. I try to imagine the secret face of the land, when the light fades and the creatures come out to roam. Iām feeling for a lost or hidden magic, a glimpse through trees of the white hart.
"My preferred technique is etching. I love its atmosphere, the deep mysterious blacks and the glowing whites. During the long etching process, my original idea changes, and grows, with the working of the metal. The act of creation continues with the printing of the image; many of my etchings are underprinted with a painterly mono-collagraph plate, and most are complex and demand a concentrated and meditative approach to the inking and printing."

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From The Spell of the Sensuous: Perception and Language in a More-Than-Human World by David Abram:
"A story must be judged according to whether it makes sense. And 'making sense' must be here understood in its most direct meaning: to make sense is to enliven the senses. A story that makes sense is one that stirs the senses from their slumber, one that opens the eyes and the ears to their real surroundings, tuning the tongue to the actual tastes in the air and sending chills of recognition along the surface of the skin. To make sense is to release the body from the constraints imposed by outworn ways of speaking, and hence to renew and rejuvenate one's felt awareness of the world. It is to make the senses wake up to where they are."
"Caught up in a mass of abstractions, our attention hypnotized by a host of human-made technologies that only reflect us back to ourselves, it is all too easy for us to forget our carnal inherence in a more-than-human matrix of sensations and sensibilities. Our bodies have formed themselves in delicate reciprocity with the manifold textures, sounds, and shapes of an animate earth -- our eyes have evolved in subtle interaction with other eyes, as our ears are attuned by their very structure to the howling of wolves and the honking of geese. To shut ourselves off from these other voices, to continue by our lifestyles to condemn these other sensibilities to the oblivion of extinction, is to rob our own senses of their integrity, and to rob our minds of their coherence. We are human only in contact, and conviviality, with what is not human."
"The practice of realignment with reality can hardly afford to be utopian. It cannot base itself upon a vision hatched in our heads and then projected into the future. Any approach to current problems that aims us toward a mentally envisioned future implicitly holds us within the oblivion of linear time. It holds us, that is, within the same illusory dimension that enabled us to neglect and finally to forget the land around us. By projecting the solution somewhere outside of the perceivable present, it invites our attention away from the sensuous surroundings, induces us to dull our senses, yet again, on behalf of a mental idea.
"A genuinely ecological approach does not work to attain a mentally envisioned future, but strives to enter, ever more deeply, into the sensorial present. It strives to become ever more awake to the other lives, the other forms of sentience and sensibility that surround us in the open field of the present moment. For the other animals and the gathering clouds do not exist in linear time. We meet them only when the thrust of historical time begins to open itself outward, when we walk out of our heads into the cycling life of the land around us. This wild expanse has its own timing, its rhythms of dawning and dusk, its seasons of gestation and bud and blossom. It is here, and not in linear history, that the ravens reside."
*The art is by British painter David Hollington. He studied at Harrow School of Art and at Central Saint Martins College of Art & Design in London, and is now represented by The Rowley Gallery.
"Animals and birds are messengers, healers and protagonists within the narrative structure of my paintings," he says. "I feel closely connected to forms of Shamanism where a channel is opened between the human world and the world of animals. I can't control this process when I am drawing, objects that are undetermined, shift and change shape until I begin to understand what the message is that I am receiving. At this point a key animal will appear and take the lead, this will be one of my trinity - the fox, the hare or the owl (often white). Once the animal or bird has taken the lead it will engender the possibility of including a mortal or god, sometimes a Hindu or Celtic deity. Then the tone of the painting will crystallise, this can take a considerable time, sometimes months, but once it does I begin to see in colour and feel the time of day the story is taking place."
Teas for Witches: the Basics
I can talk about tea literally all day (and I have because Iāve worked in a spice and tea shop for years), and there is SO much to talk about with both health and magical benefits. Teas are made from tea leaves called camellia sinensis, with the exception of herbal teas/infusions. For this, Iām going to list magical and health benefits by type of tea.
Black Tea
Feminine * Earth * Winter * Strength * Stability * Death * Expelling Negativity * Alertness * Energy
Black tea is the most fermented and oxidized of all teas. Its tea leaves look shriveled and black. It combats heart ailments, digestive problems, high cholesterol, asthma, and breast/menstrual problems. Black tea also has a lot of caffeine (47 mg, still less than coffee) and too much of it can cause acidity issues in the stomach. Ā
Examples: English/Irish Breakfast Tea, Assam, Darjeeling, Lapsung Souchang, Ceylon, Earl Grey
**There is a subset of black tea called Pu-erh, a post-fermented black tea. Some consider this to be the āpurestā of all teas and connect it to the aether, as it is rareĀ and valuable.
Green Tea
Masculine * Fire * Summer * Passion * Healing * Conscious Mind * Sexual Health * Love * Energy * Progress * Magic
Green tea is slightly steamed but not fermented, which maintains its green color. It has many health benefits, such as detoxifying, reducing cholesterol and weight, boosting immunity and stamina, and reducing blood glucose. It has less caffeine than black, but still some.Ā
Examples: Jasmine, Sencha, Matcha, Gyokurocha, Genmaicha, Hojicha, Gunpowder, Dragonwell
Oolong Tea
Feminine * Water * Autumn * Reflection * Meditation * Wisdom * Serenity * Concentration * Romance * Friendship
I always describe Oolong as being between Green and Blacks, since it is half fermented. It can help manage weight and stress, balance blog sugar levels, remove free radicals, and promote healthy skin and bones. HOWEVER, too much can actually speed up bone degradation because it sweeps away excess calcium. And beware of its high caffeine content (I used to drink Raspberry Wulong to pull all-nighters).
Examples: Milk Oolong, Formosa, Wulongs
White Tea
Masculine * Air * Spring * Happiness * Wisdom * Moon * Purification * Protection * Clarity * Cleansing * Beginnings
White tea is a little harder to find. Either the tea leaves are plucked as immature leaves and steamed, or the leaves have not been processed (there seems to be little consensus across cultures). Some have a small amount of caffeine. ItāsĀ a great antibacterial and antioxidant, and it improves the heart, oral health, and skin. Drinking a couple cups works better than one, and you can reuse the tea leaves, granted that the second cup will brew longer.
Examples: White teas come in many flavors and are usually labeled as white tea. You may need to seek out a tea shop to find some.
Herbal Tea
Magical properties depend on which herbs are used
This tea seems to be the most popular for witches on tumblr, because it is composed of dry, unprocessed herbs, seeds, fruits, or roots, and has no caffeine (as long as the herb doesnāt!). There are many recipes online as herbals are easy to make. In general, herbal tea promotes calm, reduces cholesterol and risk of heart conditions, cancers, and diabetes. Due to its lack of actual tea leaves it has less antioxidants than other teas. Some donāt even call it a tea, but dub it Herbal Infusion.
Examples: Rooibos, most Chais, Ginseng, Chamomile, Peppermint, Spearmint, Hibiscus
**Yerba Mate is an herbal tea that is notorious for its high caffeine levels (youāve probably seen the energy drink). It also zaps oneās appetite and can become addictive, so be careful around this tea!
As always, feel free to add/message me of any corrections, and I hope you find your cup of tea!
Violetās Witchy Tips Masterpost
This is a collection of my most popular witchy tips content posts! I will be adding on to this regularly. It is designed to help witchlings and seasoned practitioners alike! If there is a topic you would like for me to writerĀ about that I have not already covered, please contact me and I will make it!
The Basics//
So, You Wanna Be a Witch? : A Beginnerās Guide to Witchcraft
Classification of Modern Witches: A General Guide to Witch Types
Which Sect Should I Start In? : A Personality Quiz for Witchlings
Glossary of Commonly Used Witchcraft Terms
Common Misconceptions and Appropriations in Witchcraft
Getting Started/
Witchcraft is Not a Religion: Difference Between Wicca and Witchcraft
All About Grimoires: Creating Your Very Own Witchās Journal
A Beginnerās Guide to Spell Writing
A Brief Guide to Sigil Creation
A Beginnerās Guide to Tarot
A Beginnerās Guide to Runes
Elemental Based Craft//
Green Witchery: A Guide to Earth Magic
Sea Witchery: A Guide to Water Magic
Suncraft: A Guide to Fire Magic
Stormcraft: A Guide to Wind Magic and Weather Work
Winter Witchery: A Guide to Snow MagicĀ
Stellar Witchcraft: A Guide to Space Magic
Location Based Craft//
Kitchen Witchery:Ā Magic for HomebodiesĀ
Urban Witchcraft: Magic for City Dwellers
Wastecraft:Ā Magic for DesCert Dwellers
Swampcraft:Ā Magic for Swamp Dwellers
Internal Based Craft//
Hedgecraft: Ā The Basics of AstralĀ Work
Oracle: The Basics of Divination
Channeling: The Basics of Spirit Work
Intrinsic Magic: The Basics of Energy Work
Inner Darkness: The Basics of Shadow Work
Chaos Magic: The Witch on the Offense
Hobby Based Craft//
Creature Magic: A Guide to Working with Magical Creatures
Artistic Craft: Magic for Artists
Melodic Craft: Magic for Music Lovers
Pop Culture Witchcraft: Using Mainstream Media in Magic
The Craft, Identity and Health//
LGBTQA Witches: Tools and Spells for LGBTQA Practitioners
Spoonie Witchcraft: Magic and Chronic Illness
Magic and Neurodivergency: Metaphysical Tools for ND Witches
Stimmy Ideas for Neurodivergent Witches
Period Magic: Blood Magic for Menstruating Witches
The Craft and Activism//
Resistance Witchcraft: Standing Your Ground
Ways to Go Green!
Reducing Your Carbon Footprint and Carbon Offsetting Programs
OneTreePlanted, What it is and Why Witches Should Care.
Ā Open Pantheons//
The Nordic Pantheon:
The Kemetic Pantheon
The Hellenic Pantheon
The Celtic Pantheon
Intro to Traditional Celtic Magical Practices (Pre-Wicca)
Intro to Traditional Norse Magical Practices (Pre-Wicca)
Cultural Appropriation//
Cultural Appropriation Masterpost: How to be culturally respectful
A Basic Guide to Open and Closed Religions and Cultures
Censing/Saining Instead of Smudging
Totems and Spirit Animals (And why non-natives cannot have them)
Dreamcatchers (and why you should Buy Native Instead)
Halloween Costumes, Redface and Mascots
Racist Slurs and Phrases to Stop Using
Letter to White American Witches and Pagans from a Native Witch
Other Useful Information//
Which Herb Should I Use? A Helpful Beginnerās Quiz
Which Crystal Should I Use? A Helpful Beginnerās Quiz
Crystals in Healing and Magic
Herbs in Healing and Magic
Herbalism: How to Do It Yourself!
Violetās Witchy Tips
Viās Witchy Book Rec List and Book Reviews
Violetās Shop of Curiosities
Viās Youtube Channel (Crystal and Stimmy Videos!)
Computer in freezer room, running fire simulation. Waste heat generated by CPU used to maintain Tamagotchi battery operating temperature.
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This is an exact representation of how I run my life.

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A lupine soul
You can find him
barefoot and wild eyed
Moving on damp earth
Trembling as he runs through the evergreen
on a thin line
Between the edges of this world
And his infinite imagination.
Drinking in the clarity of madness
That gives his excited thoughts
A place to lay their heavy heads
He creates in colors and sunlight
His visions are warm sunsets
In the middle of a torrential downpour
On the moon, looking down through you
A storied tongue
He could envelope the world in his musings
And bring to life what is stirring
Inside his hurricane mind.
He howls in a calligraphy of pigments
Coloring words in perception
His shell nuanced and shimmering
Light dancing on his armor
Coming from an inward source
As his heartbeat pulses sunshine
in a perpetual symphony of movement -
He has no use for stillness
When time itself moved so fast.
Smelling of embers and smoke
He will slip through your grasp
As he floats
Leaving traces of life undiscovered
On the tips of your fingers
His canine eyes
Stirring you free
From what has weighed you down
So heavy his pieces are
The sharp edges he shoulders
Yet he remains weightless
Haunting
And reminds you that all these worlds
Both real and imagined
Are alive and teeming
With possibility and iridescence
And no matter how broken the world becomes
It will float.
You craved the light
Because you wanted to know
How much it would take
To be unafraid
And when you followed me
Into the dark
it paralyzed you
Until you realized
You lit the darkness
From within
It was always there
Alexannedra