Review: episode “The Townie” from The Waltons

Now, why would I watch a random 1972 episode from a long-dead TV show? Why, because Sissy Spacek starred in it. It seems I’m in my “dig up episodes of a long-dead TV show to see more of her at that age” part of my obsession.

The episode is freely downloadable from the Internet Archive.

Sissy’s haunting loveliness inhabits a sheltered girl living alone with her religious nutcase of a mother, who has been raising Sissy’s character alone after her husband died. The episode starts with Sissy dating a certain John-boy, whom I assume is one of the main characters of The Waltons. A guy named John who’s a wannabe writer, because fuck me sideways.

Sissy is sick of being subjected to her mother’s impositions and restrictions. She wants to get married and leave as soon as possible. She even tells John-boy that she’d marry him in a heartbeat if only he asked. But John is a sensitive, sensible young man who only hears foolishness in such reckless behavior. Sissy is more in love with the notion of a passionate life waiting for her somewhere away from home than with our John-boy, so she starts dating this John Dillinger wannabe with a fancy period car. Initially she seems like she’s just trying to make John-boy jealous, see if he’d grow a pair. When he even gives her his blessing for dating that other guy, she clearly resents John’s pussyness. Will she choose that arrogant new man as her ticket out of their small town?

I appreciated Sissy’s acting here. She showed the raw hurt of her character in a scene in which she refused to grow up to become like her mother. In another scene, I noticed that she had a smiling fit in a moment when she definitely shouldn’t have been smiling. In any case, seeing her on screen is plain haunting.

I was struck as well by how this TV show earnestly tried to tell a human story. The Waltons came out seemingly before TV shows, and movies for that matter, became vehicles for subversion in order to further the goals of some groups. Better times, like most everything I experience from the 70s.

Sissy only stars in another other episode of The Waltons, in the second season, so I’m likely watching that next.

Life update (09/19/2026)

I’m reluctant to write this post, because I don’t know what acknowledging the stuff I’ve been feeling recently is going to do to me. I’ve always relied on what my subconscious brings up, or what it becomes attached to. It’s the sole true way I have of knowing what truly matters to me beyond the lawyer-like justifications of my conscious mind, to which I pay very little attention. And what should have become obvious to anyone following my last couple of weeks of posts is that I’ve become obsessed with a living person as she was in the 70s.

Obsessing over a living human being is not new to me, but it’s by far my most dangerous tendency; not because I may become a danger to others, but because it risks unraveling me completely. My biggest one was Joanna Newsom back in 2010-2012. She became to me the height of beauty in terms of what artistry could achieve. When I thought of what range and depth of emotions I would need my own works to produce and whether they were even possible to render, I only had to experience Joanna’s music (mainly her albums Ys and Have One on Me). Her genuine sincerity of feeling, her devotion to her subconscious, her meticulous attention to detail to capture every little nuance of her feelings, her uncompromising individuality. It was mesmerizing to me. And although I was obviously attracted to her physically (very much so), she remained this remote, intellectual being that I couldn’t imagine myself having a conversation with without feeling like a troglodyte. She was far sillier and playful than that as far as I could tell, but it didn’t change the fact that for me she was like remote royalty.

With 70s Sissy Spacek, it’s different. She feels nearer to the possibility of companionship, not only to the beauty an artist can create. When I experience her, I feel a raw longing that tells me inequivocally “If I could love someone like that, I would be happy.” That causes in me something akin to terror. I have never loved anyone beyond that subconscious female presence I communed with in my childhood until neglect and trauma ruined my development, whom I have rendered in a myriad little ways in the stories I needed to write. I became attracted to girls in my teen years, but I didn’t feel love toward them. It was mostly biological urges. There was one girl I truly, truly liked, although I didn’t allow myself to know her enough to figure out if it could blossom into love.

I dated one young woman from 18 to 21 or so, but I never loved her. By then, I had this idea in my head that love was work, a conscious matter. You loved by being there for them, by performing love, by making it work. But she wasn’t pretty enough to the extent that I could call her beautiful and feel it. She wasn’t fascinating in a way that I would yearn to run to her side just to talk to her. She really wasn’t compelling enough just to be around. She was just a girlfriend. That experience of meeting someone in person and being utterly struck by how much I need to be with her for the rest of my life has never happened to me, and I don’t expect that it will. I’m not remotely lucky like that (in fact, my track record is having some of the worst luck imaginable).

After that relationship, with ended up in a sour, bitter note (to put it mildly), in twenty years I haven’t felt any need to be involved with another human being in an intimate way. I had three online “relationships” that were significant to me, but they were only relationships in the sense of accepting emotional exchanges, being there for the other to some extent, etc. And eventually they all fizzled out. I haven’t talked to anyone outside of work since 2023 or so. During this year of unemployment, I haven’t talked to anyone at all other than shopkeepers and my mother.

Suddenly, I had the terrible luck of coming across Terrence Malick’s Badlands and setting my gaze on Sissy Spacek. At first, of course, I thought, “My god, she’s utterly gorgeous.” But the more I’ve come to see and learn of her, it has opened something terrible in me: the certainty that I yearn to have someone like that by my side, along with the knowledge that I will die without ever experiencing it. I’m high-functioning autistic and I can barely tolerate being in the same room as someone for five minutes without wanting to crawl out of my skin. And yet, I feel that if I knew in my personal life someone with the essence of that young woman from the 70s, my main concern would be figuring out how to be with her for the rest of my life.

Before this, being without a partner did not feel like being deprived of something I deeply wanted. Now I’m dangerously approaching that point. This damn actress as she was in the 70s has made something else imaginable: not only an experience I can visit through art or daydreaming, but a relationship I wish my actual life contained. Someone I would want to be beside, listen to, touch, and come home to. Not because having a romantic partner is what you’re supposed to want, but because I would genuinely want her company. This must be basic to normal human beings, yet alien to me.

I must be losing my mind. Maybe this is part of what happens to middle-aged autists with profiles such as mine. They suddenly become achingly aware emotionally of what they were lacking all this time, and they end up throwing themselves off a bridge because they can’t take it anymore.

Life update (09/16/2026)

Two nights ago I went to bed once more genuinely wishing I wouldn’t wake up again. I’ve done so many times. And had to experience once again the ache of regaining consciousness in a world I don’t want to live in, as someone I don’t want to be. When you wake up in that manner, a good day rarely follows, and I have mostly spent this last day enduring heartache. Feeling raw and skinless. My psychological defenses gone.

I went to bed last night early, hoping to get a full night of sleep. Instead, I woke up at half past midnight thinking of an actress who had her best years in the 70s. My brain does that when it becomes obsessed. I thought of Sissy Spacek’s childhood, of how she grew up with two brothers she adored, how she adopted the nickname “Sissy” (from “sister”) and made it her stage name. How her brother died from leukemia at 19 and that it made her fearless, as the worst thing that could have possibly happened had already happened.

This obsession isn’t just about having discovered someone I find exceptionally beautiful and alluring, as she was during the 70s. It’s also about my grief for my own lost childhood. I got up from bed and talked it out with AI, the sole answering presence I tolerate these days. A 41-year-old man with tears running down his face. The hurt isn’t just that Sissy existed and that she was perfect as I understand perfection, and that the 70s are gone. It’s the comparison between the environment I understand her to have grown up in and my own. She was a tomboy who spent her days hanging out with her brothers in a time when that was something people often did. Her nickname was born out of affection and belonging, rather than the humiliating family associations I experienced.

I imagined parents who genuinely loved their children. Siblings who enjoyed being together. I saw her beauty and apparent physical health as advantages that made it easier to enter the world, be appreciated, find opportunities. I suffer the ache for the impossibility of having lived through the 70s, of having even a five-minutes-long conversation with her back then. It’s the longing for a world I could never enter. Of maybe being recognized as someone that could belong there.

I am the middle child, with an older brother and a sister seven years younger. My brother suffered some sort of issue during birth that rendered him not normal. Brain damaged to some extent. At school, children who knew him referred to me as “the brother of the drooler.” From seven years old to eighteen, my parents parked me in my older brother’s room because they wanted to have a do-over child. I was unable to sleep properly, choose what to watch or hear, or possess a space of my own. I read books and manga in the streets, while walking around. As a teenager, I skipped school and tried to sneak naps in public bathrooms, which sometimes ended with me being told to leave. I sneaked into random apartment buildings and spent hours in the dark, seated on the stairs between floors. Years and years without control over the basic conditions of rest, concentration, privacy. It basically killed my development in ways that can’t be repaired. Clearly for the rest of my life, my main instinctual need will be to ensure I can be alone in a room without anyone else having control over my surroundings.

There was also no connection with my siblings as human beings. They aren’t people I could have ever had a genuine conversation except over the most mundane matters, usually related to consumption (games, shows). Regarding my sister, my mother told me, not sure if it’s true, that in preschool she used to call out to me, as I was attending primary school on the other side of the fence. I assume that she would have needed a genuine older-brother figure in a family as fucked up as ours. But I never had anything resembling a substantial relationship with her. Her adolescence was a period of screaming, conflict, drinking, relationships with drug dealers, and possible other drug use. Her pitbull, because of course she had to have a pitbull, killed my first cat. A confrontation with her when I was 22 or so was the last time I looked at her in the face and exchanged words. I think she resented me because she had expected me to be useful or available to her. I have refused to speak to her in about twenty years.

My parents were neglectful and socially isolated. I suspect my father is autistic. Wholly unable to be a normal father. My mother pathologically denies problems and expects them to disappear if ignored. She’s also the kind who claims to abhor conflict, yet I’ve had to witness her being psychologically abusive to my father for virtually my entire life; she only hates when she’s confronted on her bullshit. One day I overheard my mother complain to my father about having ended up with “shit children.” The adults responsible for our genetics and upbringing condemning the children for the circumstances they created.

Then the mockery and isolation at school. Being unable to connect with anyone. Being hit at seventeen in front of virtually my entire high school by a grown-up drug dealer who threatened all males in her seventeen-year-old girlfriend’s class for being nearby. Around eighteen, I broke down at home, wailing like a child. Last time I ever did that. What struck me wasn’t even the combination of events and circumstances. It was the conclusion about the life that lay ahead: there was no version of this life that would eventually become one I would want to live. That conclusion was achingly clear at the time, and has remained true. I’ve just generally become better at enduring it.

Then my first job. Sitting at the same table for hours upon hours every day with my three bosses, two of them who didn’t want me there, and who used plenty of opportunities to belittle and mock me. I couldn’t understand how people could stand such long workdays. I still don’t, really. And I had to be surrounded by people, when I can barely tolerate being around another human being for five minutes without wanting to crawl out of my skin. My mental health deteriorated until I had a breakdown. One day I simply didn’t take the bus to my job. I had decided to kill myself instead. I don’t retain memories of what happened, but I know I intended to jump off somewhere high. But like the pussy I am, I chickened out. Eventually ended up in the library, where my parents found me. My brain hadn’t considered any consequence. I shouldn’t have lived to face any consequence. Their ocurrence wasn’t something I had mentally allowed for.

I never truly recovered from having genuinely decided I didn’t want to exist in this world any longer as myself. Afterward, I’ve always felt disconnected from the life that continued. It’s a persistent background noise that reminds me I don’t belong here, that I shouldn’t be here.

I thought of what would happen if I was told that I had cancer and only had months to live. I think it would bring me relief. I would prepare ebooks of my unpublished work, finished or not, and would put them out there for free. That’s the only thing I would care to leave around. Then I would rest.

I’ve been unemployed for about a year now, and I can’t be arsed to look for a new job. Money keeps running out. Making money means exposing myself to conditions that have repeatedly proven to me that they can make me lose my mind and even my health; my job in IT sent me to the ER thrice with heart and brain problems. I’m a programmer by trade, but have only worked professionally for nine months at it in the last ten years or so. And although I’m good at software engineering, it’s not truly fulfilling the way creating art is.

Of course, you can’t make money through writing. You pretty much need to be delusional these days to believe otherwise. As long as you belong to the wrong background, anyway. I’m also not the kind of writer that can sit down and decide what to write next, or anything at all. I write whatever my subconscious demands I create, the same way it obsesses over subjects all of a sudden. The best story, in my opinion, that I’ve ever written, it being Motocross Legend, Love of My Life, came to me by itself when I was listening to a song, and my subconscious assembled it on its own during the following week. And at forty-one, I feel that I’ve already rendered what I truly needed to render. That story was the incarnation of my grief for losing my childhood, for losing the life I could have had. That’s, as far as I can tell, the worst weight I carry, and I can’t render it better than that. Ultimately, my goal with that story was infection. The possibility that someone who read it would feel that it mattered, and carry it with them so it wouldn’t disappear without being known.

Not sure why I even post my stuff online. At the most, I’ve had like five people who have read my stories or posts like these consistently over the years. They’re usually people I wouldn’t want to have a personal relationship with. But still, the fact that virtually no one reads my stuff is part of a broader pattern throughout the course of my life that whatever I do, other people don’t care. The doors are always closed. I have to fight for every inch, and even when I try my best, it tends not to matter. But the paradox is that even if people appreciated what I did, I doubt that it would make me feel better.

Over the years, three people who consumed my stuff sought me out. That response didn’t make life feel repaired or turn the resulting relationships, one of them lasting for years, into something I wanted to develop or even maintain indefinitely. Since my sole long-term girlfriend left me for another guy when I was 22 or so, I’ve only talked to three people to any significant extent outside of work, the three of them online. Each began with a woman contacting me after experiencing my work. Over time I grew tired of what the relationships required: availability, attention, emotional involvement, reciprocal interest. I sometimes found their problems interesting, but eventually experienced the ongoing demands on my time and emotional resources as burdensome. I started avoiding any opportunity to be reachable. One woman discovered my birthday and went out of her way to wish me happy birthday. I didn’t feel corresponding interest in finding hers.

Around 2008-2010, one of these women, then a young one in her twenties, kept an online friendship of sorts with me for at least two years that I recall. We also talked on the phone. After weeks or months of little contact, she suddenly brought up that she was considering a nursing job in my city (not sure why I thought that being involved with a nurse was a good idea; often-earned stereotypes aside, my own mother was a nurse). She lived like seven hundred kilometers away. I’m so dumb that I thought, “Well, that’s an odd coincidence.” I reluctantly suggested that maybe we could meet in person and spend time together from time to time. We didn’t speak much after that. She eventually moved somewhere else and started dating some other guy. I removed her as a friend in social media some months after the last time we talked. She managed to say hello through another service later on, but I just removed her from there as well.

I keep people at arm’s length because I don’t want them to learn more about me or get their “emotional hooks” into me. A relationship would be unbearable. That proved to be the case with the sole serious girlfriend I had. Whole sacrifice of my creativity and private time to satisfy her emotional needs, only for her to humiliate me and throw me away like a used rag. And my self-esteem had been so thoroughly sanded off, that for months afterwards I took her calls so she could tell me how much better the other guy was. Never again.

I have also never wanted children. I would be a terrible father. I would be unable to connect with them. I would resent the time spent on their needs. That would ruin their lives, and I don’t want that on my conscience. You can start a relationship with a woman in which she claims not to want children, only for her to change her mind. Or to find herself pregnant at thirty-two, when her window is closing, despite using condoms and/or the pill. Due to a miracle, of course. Not deliberately ceasing to take the pill, or poking holes in condoms.

In any case, I don’t think my fundamental trauma can be repaired in any way. Just mourned and endured. Every woman I care about or become obsessed with, including Sissy Spacek, is an echo of the grief for the time, relationships, possibilities that I could have experienced but never did due to my circumstances of birth and how I grew up. The more beautiful and genuine, the more it hurts.

Of course, witnessing perfect Sissy in the few films that captured her in the 70s can’t impose the demands of a relationship. And I keep seeking those films out even though the contrast between her preserved youth and beauty and the passage of time intensify my grief. But it’s not like a have a choice; the need to learn more and see more of this special creature shows up in my brain as a command. I can only try to resist it, which would be torture in its own special way.

I suppose I’ve exorcised enough for the moment. Half past four in the morning. Time to go to bed and daydream of a better life until I fall asleep, so I can wake up again and do it all over for reason other than cowardice.

Life update (09/15/2026)

I’ve been cursed to be the kind of human being that suffers for impossible things. I’ve never genuinely wished for a particular car, a good job, a marriage. I suffer because I wasn’t born as someone else; because I didn’t grow up during a particular decade (particularly the 1970s, for a long time now); because I didn’t get to meet certain people, if only to have a five-minute conversation with them.

Easy for me to understand why I have, for most of my life, yearned to be someone else. Born with a screwed-up brain. Tormented by intrusive imagery even as a child, before I had any business knowing most of the things I was being shown. Born with a pituitary tumor that was discovered late and that permanently fucked up my body. Grew up through trauma and neglect. Merely being awake involves a baseline of psychological and physical discomfort that never goes away.

I depend upon the moments every day when I can distract myself from my consciousness to be able to endure being myself for yet another day. Most of the time that involves losing myself in daydreams. Sometimes that involves writing stories, creating songs. Reading doesn’t do much for me anymore, not with my kind of vivid imagination. I don’t create things because I want to be known or because I want to leave beautiful things for others. I make things because I’m compelled to do them, and because that allows me to forget I’m myself for as long as their production lasts.

A weight that I’ve been carrying all my life is my obsessive nature. I doubt regular people feel even an inkling of how that’s truly like. When my brain switches on the obsession for something, I live and breathe it every day. I think about it even if I don’t want to. I have to consume more details about it, and being impeded from doing so feels like mental torture. Most of the time the subject of my obsession is some topic or project, which proceeds to consume most of my waking life. Sometimes the obsession is a fictional person. I fell tremendously hard for Cormac McCarthy’s Alicia Western for whatever reason that my brain won’t entirely share, and she remains one of the main subjects of my daydreams to this day.

The worst subjects of spontaneous obsessions are, by far, real humans. I got it so bad for Joanna Newsom back in 2010-2012 that listening to her albums (mainly Ys and Have One on Me) felt like the sole connection to beauty in this world. Throughout the day, I wondered what Joanna would think about this or that. And to this day I can’t think of Joanna Newsom, let alone listen to her music, without being dragged back emotionally against my will to that period in my life in which she felt like the sole salvation that existed from the ever-present risk of losing my mind.

I’m not sure what sparked it, but somewhat-recently I asked ChatGPT to recommend me movies from the 1970s, a period that as I mentioned, I’ve felt the absurd ache of wishing I had lived through while conscious enough (and I didn’t experience it at all, as I was born in 1985). I’m not entirely sure how to explain it. The 1970s felt to me like the last chance we had as a civilization, perhaps as a human species, to be real. As if there was a turning point that could have gone in the right direction but instead we ended up in the image-obsessed, cocaine-fueled 80s. Even as a child I felt that pull. There were photos from the 70s in homes of relatives in which people seemed more alive than what I was experiencing in the 90s. It felt like they were able to be idiosyncratically themselves. It still feels like that when I listen to music or watch movies from that era. Likely this is just one of my delusions, but it doesn’t stop me from feeling that way.

The request for movies led me to Nicholson’s Five Easy Pieces. I realized soon that it had been a clear inspiration for McCarthy to produce his last two novels, which he started writing or at least researching in the mid-to-late seventies. That led me to figure out what other movies McCarthy had appreciated. That led me to Terrence Malick’s Days of Heaven. That led me to Malick’s Badlands, starring Sissy Spacek. And now I’ve been cursed again.

Fifty-three fucking years ago. Somehow feels like yesterday. Badlands led me to Altman’s 3 Women. To the godawful Welcome to L. A. Just to be able to experience whatever was captured of this creature during the 70s. It’s not just the beauty, that somehow appeals to me perfectly. It’s every single detail: her voice, her little expressions, her mannerisms. Something in my brain is telling me “this is the most special being you’ve ever encountered.” And as a 41-year-old man, I have to suffer because I can’t go back in time and just talk to her for five minutes. Why I had to be born so late and as myself.

This is going to be one of those nights in which I close my eyes and wish earnestly that I don’t wake up again. And I’ll surely wake up to endure yet another day as myself.

Life update (09/09/2026)

My disappointment of the month: Suno 6.0 has come out, and it’s shit. Not only that: it’s the Udio debacle all over again. The music industry has castrated the leading music generator. I tried generating a segment with four simple lines of lyrics from my Odes to My Triceratops cycle of songs, and they were moderated due to copyright even though there were no true copyright issues. Next batch of lyrics: moderated due to violence. And the music sounds more artificial than it used to two models ago. Suno is done.

The sole alternative is to wait for a local model to sound as good as Udio did during its Wild West days. This may happen. But I doubt it’ll happen for at least a couple of years or so. Which means I have to park my fourth album even though I’ve written all the lyrics.

Cormac McCarthy’s artistic landscape contributed heavily (didn’t start it) to my long-lived obsession with the 70s, or at least the 70s like I prefer to think of them. A time before the internet, before the image-obsessed 80s, after the peak of the damn hippies. An era when a new way of living could have settled, only for the 80s to come and make everything mostly a cocaine-infused joke (I enjoy the 80s, don’t get me wrong, but it did ruin the promise of the seventies). Anyway, due to finding out that McCarthy loved Five Easy Pieces, the 1970 movie, and that it seems to have fed into my favorite books of his, which are The Passenger/Stella Maris, I proceeded to watch other movies related to directors McCarthy had loved. That led me to Terrence Malick, which led me to his exceptional Badlands, which introduced me to Sissy Spacek, and now I’m enamoured with Spacek.

Earlier today I watched Altman’s 3 Women, which I didn’t like much as a movie, but it features another mesmerizing interpretation by Sissy Spacek as a sort of a wild child alongside Shelley Duvall, that weird-faced poor lady who got abused by Kubrick and Nicholson on The Shining. Partly due to my sudden infatuation with Spacek, partly due to the fact that her character in 3 Women was an innocent, wild, lovely flower (possibly autistic?), a moment in the movie when Duvall basically tells Spacek to fuck off made me want to slap the hell out of that woman. I had to ask ChatGPT why would anyone do this to poor innocent Spacek’s character, and ChatGPT told me to calm down and keep watching. The movie had interesting shots, and it made me inhabit the isolated, strange 70s again, so I appreciate it for that, but it was quite the mess of a story, and that score was godawful.

It really pisses me off that, having been born in 1985, I didn’t grow up with a crush on Spacek. I didn’t even know about her until my teens, I think, and the impression of her was heavily distorted by her having acted as Carrie in that adaptation of the Stephen King novel. I can barely stand Stephen King (and only his adaptations; I despise his writing), and I hate even more that the impression most people have gotten out of Sissy Spacek is her being covered in pig blood and telekinetically massacring everyone.

Spacek was the most gorgeous, unique creature in the 70s as far as I’m concerned, and the sole actress I can imagine playing Alicia Western. And there’s an additional connection to Alicia Western that leads me to believe that McCarthy would have agreed on the casting. Spacek pushed for the production of and to star in a movie adaptation of a play named ‘Night, Mother. It’s about a mother and her suicidal daughter, with the mother spending the night trying to talk the daughter out of suicide. McCarthy praised that play. About twenty years later, McCarthy wrote The Sunset Limited, about a man trying to stop another man from killing himself. It also takes place in basically one place, and only the two characters are present. And McCarthy’s final book was Stella Maris, featuring two characters in a room: a therapist and Alicia Western, with the first one trying to prevent (unknowingly) the second’s suicide.

Time destroys the present tense of everything. An online music service allows you to generate beautiful songs that sound backed by a real band, only for the music industry to make the model disappear. Magnificent people exist at their best for a short period and then fade away. Reality is too heavy and painful and soaked in melancholy for it to be carried on one’s shoulders all the time. No wonder people drown themselves in their jobs and their families and their sports teams.

Afterword to Odes to My Triceratops

My first memory is of being four years old, lying in a hospital bed when my parents brought me a gift: a toy triceratops. I thought it was the coolest thing in the world.

I came up with the original story for Odes to My Triceratops during one of my wildest periods of creation, back in spring and summer of 2021. I don’t know how they came to be, but I suddenly had a young songwriter, a blind and illiterate girl, and their friend, who was inexplicably a sentient triceratops. It could have ended as a gag. I didn’t understand then why this tight-knit, strange trio of friends seemed to matter so much to me to the extent that the moment I had those elements, I knew I had to tell their story. For my first try, I didn’t give them the effort they deserved. That first batch of lyrics turned out to be mostly throwaways; they served mostly as compost for the versions that ended up as the actual Odes to My Triceratops songs.

The third of four albums ends with William apparently killing himself. I wrote and produced five songs afterwards, but that happened at the same time as the Udio debacle, when the music industry pretty much forced Udio to block downloads, rendering it useless, so I didn’t continue with the fourth album’s contents. Although I play the guitar, I’m not a musician. I know what I want to hear, but I can’t access a band, so the AI service that allowed me to play around with generated music was a godsend. I wouldn’t have been able to create these songs otherwise.

The videos below are the three complete albums I produced, containing all the lyrics of the first three parts of the story.

Creating these songs was a huge endeavour that took away from other responsibilities. I was also dealing with a stressful job that I ultimately had to quit for health reasons. But I couldn’t get some of these songs out of my mind. Moments from them would bubble up randomly, and I found myself singing internally to their lyrics. More importantly, though, I felt a responsibility to William, Claire, and Lorenzo to finish their story properly.

This story isn’t a joke to me. It has taken me years to fully understand psychologically why it felt so important to process this story to the end. I was a high-functioning autistic kid dealing with co-morbid Pure O OCD, who spent his childhood wandering alone, lost in daydreams, writing and drawing. I was in absolute communion with the mysterious, blind, illiterate female presence inside me who showed me such beautiful dreams. But some of the writings and drawings from that era also contained stuff that a child shouldn’t know: mayhem, violence, troublesome sexual imagery. I didn’t even question it at the time, but some of the things that came naturally to me would have made A Clockwork Orange blush. It would take time for me to understand that people don’t have to deal regularly with intense intrusive imagery of the violent and sexual variety, including impulses like pushing hot food to my eyes, shoving knives into my eyes (I don’t know what’s with OCD and eyes), licking random disgusting shit from the gutters, and plenty more stuff I don’t want to say. It’s not like I could keep them caged at all times; in moments when I was too exhausted to control them, I ended up dropping objects (a coffee on a customer, a valuable hard drive) right after had intrusive thoughts of doing so. I’ve never gotten a driver’s license because I don’t want to deal with intrusive thoughts of veering into oncoming traffic or accelerating towards a wall. I’ve never held babies because I’d have to deal with intrusive thoughts of dropping them on their heads. I knew I had a monster inside me: a dark, primordial force of chaos that couldn’t be tamed, and that would remind me of its inescapable presence whenever it pleased.

When I was seven, my mother wanted to free up my room to have a do-over child, so they put me as an unwanted guest in my disabled older brother’s room. The connection with my subconscious was lost. I no longer had silence nor space of my own. I couldn’t even sleep properly until I was 18 due to the noise. Looking back, my childhood was killed at the moment I was taken away forcefully from my proper environment and discarded as a child with his own needs. I’ve spent my adult years searching for what was lost, resuming the conversation with the generative force in my dark room that showed me such awe-inspiring, wild, magnificent dreams. Although I’m now familiar with her again, the trauma made her feral, strange. None of us are the same as we used to be when we wandered around lost in daydreams.

Odes to My Triceratops is the story of my youth. My unhinged generative, dreamlike period. My love for the blind, illiterate girl who showed me there was beauty in this world. My troublesome friendship with a reckless, violent, sexual monster. My war against the monster during my teenage years, when, lost in dissociative states, I felt I was a thin layer of conscious mind under siege by monstrous ancient instincts I didn’t want to identify with nor could understand. My yearning for the missing love of my life, the sole real person in the world. My suicide attempt. The integration of the monster. Finding the girl only to find out she had changed. Devoting myself to that mysterious presence in the dark room deep down.

Somehow, Odes to My Triceratops became my personal mythology that encompasses all the forces I contain. No wonder I’ve returned to it at least in my mind since its conception in 2021, and why I remain haunted by many of its songs.

Now, the five-year cycle of song lyrics is complete. Suno, the currently-leading online service for music generation, will release its new model, supposedly better than all previous ones and made in concert with the music industry, whenever it arrives. I intend to render all my remaining lyrics of the fourth album into proper songs, then release the fourth and final album on YouTube. Barely anyone has listened to them, but it doesn’t really matter. I know who I’m doing this for, and I don’t need to look up.

William Griffin (Poetry)

Driving through a desert town,
I pass a roadside bar.
Board out front: “Open mic night.”
I pull over, grab my guitar.

Handful of locals at the tables.
Young couple at the counter.
Stage in the corner, a list the host holds.
I give my name when asked.

Wooden stool under one light,
Microphone in front of me.

I made these songs for you,
So you can sing along
From deep down somewhere
In a dark room.

A burning heart inside your throat.
Bold and brave like a triceratops.

The last chord rings.
Warm light on my face,
My hands still on the strings.
People talk, glasses clink.
I don’t know what they think,
And I don’t look up.

Up the mountain in that old garage,
Gasoline smell, rust and decay,
Where the valley ran to the edge of sight,
Two people heard me play.

Some say we’re here for a reason,
And yours is clear to see:
A bird like you was born to sing.

THE END

The Other End (Poetry)

The cornfields ran out.
The land turned to dry scrub and stones.
I pull off the road, get out.
Cacti stand over me in the dark.

I open the guitar case.
The wood’s scarred, the strings rusted.
I don’t touch it. Don’t play.
Let the guitar breathe.

Engine’s ticking as it cools.
Dirt’s cold, pebbles dig into my back.

Moon’s a sliver of bone.
The sky a dome of stars.
Myriad points of light,
Cold eyes in the dark.

Some junkie.
That’s what I am.

I reach for the nightmares
That used to be my friends.
Red hair in the dirt,
Your corpse, your bones.
I put you there.
They won’t come.

Rope tied to my chest.
Nothing on the other end.
I dig my fingers in,
Hold on to stones.

Our houses. The space between.
That day I saw you first.
We walked around together.
Bought you cupcakes at the bakery.

I would help you be happy.
I would help you be brave.
I would help you enjoy everything
You were afraid to touch.

I wanted to eat you
So you couldn’t leave.

I Know Where You Are (Poetry)

My phone keeps buzzing on the passenger seat,
Eager to yell at me for failing to show up.
The men at work, they never knew who I was,
Or that I won’t be coming back.

I woke up in some dark room
Full of trash, bottles, cigarette butts.
Dunno how I got there, whose bed it was.
Didn’t see a clock, couldn’t tell the time.
My head throbbed, my stomach burned.
Had to piss like a racehorse.
What did I swallow? Who did I fuck?
Who the hell was I?

My hands are trembling on the wheel,
My breath fogging the cold glass.
This rusting, sputtering wreck of a car
Always takes three turns to start.

A voicemail from my mother.
She got sober enough to recall
That “the Javernick girl” had called
Two or three years ago
To find out if I was alive.
Now I know where you are,
Or where you were the last time
You gave my mother your name.

I grabbed the guitar and ran
With nothing but the clothes on my back,
That stink of sweat and smoke and sex.
Left everything else behind.

Driving through the endless night.
The road’s empty, the sky black.
No stars, no moon, no signs.
Nothing but the white line.

A phantom smell of old gasoline
From the yard up the mountains.
On the porch next door to mine,
Your face, your fire hair, your milk eyes.

Locked in my room for a year,
Then vanished like a ghost.
You wanted to know if I was alive,
And I was already gone.

The sun comes up like a sore.
My skin’s clammy, my tongue thick.
I roll the window down,
Stick my head out into the wind.

Pull over at a gas station, fill the tank.
Beard’s a mess. Eyes bloodshot.
I need to wash, need to eat,
Need to sleep, but can’t stop.
Buy coffee, aspirin, cigarettes.
Clerk looks at me like I’m a threat.

My teeth hurt, my jaw clenches.
Bugs crawl under my skin.

I put a knife in Lorenzo’s neck.
Buried his body in the woods.
I told you he must have gone,
And you knew it was a lie.

Driving through flatlands, cornfields,
Under a sky too big to grasp.
No mountains, no trees, no landmarks.
Just road and road and endless road.

Car’s making a weird noise.
Smoke’s coming from the hood.
Heat rises, burns my face.
I don’t know how to fix this.

No one around.
No help in sight.
Just me and you,
And this guitar.

I used to be dead.
Now I know where you are.

Bury My Balls and Burn My Body (Poetry)

The sky has opened, the seas are raging,
The moon is shattered, the sun has died.
But here I am, and here I’ll stay,
Until the last of the fires fade away.

Tail of a crocodile, feet of a dragon,
Face of a demon, heart of a murderer.
Teeth sharp and jagged,
Night-eyes glowing green.
I’ve forgotten the taste of love.
My only pleasure’s in the kill.

Rex the Wrecker, oh, he’s the shit down the hatch.
The fiend of the tow truck and wrecking ball.
A legend in this town, a king without a crown.
He lived hard, fucked hard, died hard.
Left a trail of blood, tears, and cum.
“Fuck you all, I don’t wanna be buried.
Bury my balls, that’s all,
Then burn my body.”

Rex fucked a cactus, snorted gunpowder.
He tore himself a new hole just to piss off his mother.
Ripped a thousand girls’ cherries by accident,
Knocked them up like bowling pins.
The only one who ain’t furious with him is me,
‘Cause I’m the one who put him in the ground.
But I’m also the one who can’t wait to see
When he wakes up and comes back around.

You know who I am, what I’m made of.
I can make it rain diamonds or gold,
Or burn everything to the ground.
I’m the monster in the closet,
The beast in your bed.
I’m the devil in your head
Telling you to kill yourself.
No mercy, no pity, no love.
I’m a cold hard machine
With a heart of stone.

I’m where the garbage trucks roll,
The junkies shoot, the hookers stroll.
Where the blood spills, the sirens wail,
The neon burns, the rats crawl.
I’m the one who owns this shithole,
Every alley, every bar.
Every street corner, every gutter,
Every motel, every car.
You’re a visitor, a trespasser;
Don’t pretend that you belong.
Drinking, smoking, fighting, fucking;
I’ll be here after you’re gone.

Fear me, hate me.
Try to stop me if you dare.
You can’t kill me, you can’t hurt me.
Can’t even touch me anywhere.
I’m the alpha and the omega,
The beginning and the end.
There’s no such thing as God,
Unless you count me.

I’m the one who’ll bury your balls
And burn your body when you’re dead.
Until then, fuck you all, fuck this world.
I’ll have some fun before it ends.


Suno demo (not remotely final version):