Release of album Odes to My Triceratops, Vol. 1

If someone had told me in summer of 2021, when I started my bizarre story Odes to My Triceratops, that I would end up producing a fifteen songs-long album of studio-quality music out of its silly lyrics, I would have vomited out of happiness. I have become a jaded old man, I guess. Anyway, you can download the album right here:

Link to the compressed album

Please tell me if you have any trouble downloading it. It would be quite sad if I intended to make it available only to screw up the delivery.

Anyway, this album features the fifteen songs included in the first part of that story (out of three). It’s a sort of a concept album that follows the troubles, particularly romantic ones, of amateur songwriter William Griffin from the years twelve to fourteen or so, as he enjoyed his youth with his blind next-door neighbor Claire Javernick and his best friend, the sentient triceratops named Lorenzo (featured in the banner of this site). William isn’t all that bright, nor all that talented, but that won’t stop him from producing as many songs as humanly possible in the hopes of processing his turbulent feelings.

I wouldn’t have been able to produce these songs if it weren’t for the magnificent AI service Udio.

Songs contained in this first album Odes to My Triceratops, Vol. 1:

  1. Lorenzo
  2. Lemonade and Willies
  3. My Friendo Lorenzo
  4. Better Dead Than Blind
  5. Claire With a C
  6. Fairy Tale Too Real to Be
  7. I Am Your Stegosaur
  8. For Claire, Who Can’t Read
  9. Let Me Eat Your Stuff
  10. Part Goldfish
  11. No Magic Potion
  12. Wait About a Month for Love
  13. Helpless and Pure
  14. Please, Play With my Guitar
  15. The Burning Heart Inside Your Throat

Quite a few hits in this album. Check out the song “Fairy Tale Too Real to Be” right here, for your listening convenience:

Give me some feedback, will you?

Magnificent AI music generator #6

I hope you are enjoying my forays into Udio‘s AI services so it will generate songs according to my absurd specifications. You better have been enjoying them, because I’m about to clobber you with five new songs, a few of them excellent.

They are based on the song lyrics included in my bizarre free-verse narrative titled “Odes to My Triceratops.”

First one is a grunge track called “Lorenzo.” Possibly my favorite of the bunch.

Next up, a soothing traditional folk song titled “Lemonade and Willies.”

Now check out this lovely lullaby titled “My Friendo Lorenzo”.

Listen to this uplifting song about three friends having fun, titled “Claire With a C”:

Finally, an energetic garage rock song titled “Fairy Tale Too Real to Be.”

Magnificent AI music generator #5

As I was trying to figure out what free-verse poem of mine to use as lyrics for the magnificent AI-music generator Udio, I realized I had completely forgotten about my “Odes to My Triceratops,” even though Lorenzo the triceratops is featured conspicuously on the banner of my site. That bizarre narrative includes the lyrics of about three-dozen fake songs created by an amateur songwriter named William Griffin, as well as some written by his blind next-door neighbor called Claire Javernick. Why not just turn them all into actual songs?

Here’s the first one, titled “Better Dead Than Blind”:

Magnificent AI music generator #4

The lessons I’ve learned from my brief time generating AI songs are ones that musicians have likely also taken to heart: first, if some part of the lyrics doesn’t translate well when sung, just drop it. Also, the main goal is to create a song that you’d love to listen to over and over. I’ve succeeded in doing so with the following song, based on my oldish free-verse poem “A Visit From Truck-kun,” an ode to isekai (that requires a severe rewrite, probably even a reimagining).

Isn’t that fantastic? My two regrets: the annoying typo at the beginning (having written “tell” instead of “tells” in the lyrics). Also, that I couldn’t extend the song again to give it a proper intro.

Anyway, the song was generated using the Udio service, so far the best AI music generator.

Magnificent AI music generator #3

I’m reminded regularly of chapter 69 of my ongoing novel We’re Fucked, because I get random hits from visitors who likely expected something different from the search that led them to a page titled “We’re Fucked, Pt. 69.” Sorry, fellas.

Anyway, in that chapter, my deranged protagonist Leire comes up with an idiotic poem about feeling like a monster. The magnificent music-generating service Udio has transformed, with some help, Leire’s poem into a shitty 90s pop-rock song. Enjoy it if you can.

This song-generating business is addicting. I adore music, and I listen to it daily to shut out the world or get in the mood during freewrites. I can’t imagine the masterpieces we’ll be able to generate in a year or two.

Magnificent AI music generator #2

Before I finally go to sleep at three in the morning, check out this absolute banger I’ve put together with Udio, so far the best AI music creator I’ve ever come across. This following song sings parts of my free-verse poem titled Sasquatch Goddess:

That one’s going straight into my tablet so I can listen to it during my commutes. It’s probably a good thing that Udio doesn’t allow you to extend the song more than thirty seconds beyond that point, because I was considering generating music for the entire poem.

Anyway, very strange and interesting end times we’re living in.

Life update (04/10/2024)

If I had told myself yesterday that today I would be writing an entry about a girl I see on the bus, I would have believed I was deceiving myself as I do regularly. But I must admit that I, a nearly 39-year-old middle-aged man, have a crush on a girl who shares my afternoon commute.

She must be in her early twenties at the most, and if any of you hapless people reading these words were to look at this human creature, you likely wouldn’t consider her a bombshell: she wears hoodies or similar attire; has glasses; her long, black hair in a half-up bun; very pale skin; and a lovely face. A tomboy of sorts. I’ve never heard her speak, so, to be honest, this person could be a beautiful dude that doesn’t grow facial hair. If that’s the case, I guess I’m bi. I’ve been into crazier shit.

Anyway, fantasizing about attractive girls (or I guess humans) lessens the horrible burdens that being alive imposes on me, but in the case of this bus person, for the entire ride, my attention was continually drawn to her. An antsy sixth sense suggested we were both thinking about each other, but neither would do shit about it because we aren’t crazy enough to approach a stranger for no good reason. I’m aware, however, that such an impression is likely testosterone talking; I grew up with little to no testosterone, and I never experienced such thoughts until they discovered my pituitary tumor and I started treatment. I will never get used to the notion that although I feel sure that something is going on, I may be imagining it because my hormones are deceiving me.

Last weekend, as I was walking by a park on my way home, I spotted her sitting on a bench. She looked at me, but my gaze didn’t linger. Today, as I was paying the bus fare, I got the feeling that someone was staring at me, and my gaze landed on her eyes. She reacted with a neck twitch and darting eyes, an universal sign of “Oh shit, I’ve been caught staring.” I walked by her and stood about a couple of meters behind her. When my stop was approaching, she moved to exit here, earlier than her usual stop. For about half a minute, she stood close enough that our arms almost touched, which I very much wanted to do. Then she exited, and we both went our separate ways.

Why am I even writing this? Because I never get interested in people. Of course, I notice attractive females and I fantasize sexually about them on a regular basis in order to feel better. But this bus person feels special: she’s someone I would like to know and not just imagine myself fucking. That’s a departure for me, because I can barely tolerate human beings.

She resembles Leire, the protagonist of my ongoing novel We’re Fucked, at least during the first half of that story. Is that why I care? Did my subconscious craft Leire’s image from some instinctual attraction? I don’t have the answers. All I know is that I look forward to seeing this human being again tomorrow at a quarter to two in the afternoon.

I’m not delusional enough to believe that anything will come out of my crush other than hyperactive daydreams. I will never be in another intimate relationship again: I’m middle-aged, in constant psychological and physical pain, my body is ruined in numerous ways, my Irritable Bowel Syndrome keeps me bloated and with my guts burning in relation to how anxious I am (and I’m always anxious, increasingly so, the moment I step out of a room where I’m alone), and I’m incapable of forming normal connections with people. Still, one can daydream. If we couldn’t even cling to delusional hopes, we would all have died out long, long ago.

Motocross Legend, Love of My Life, Pt. 13 (Poetry)

If you haven’t read all the previous parts or you don’t remember them well, I urge you to read this novella from the beginning (link here).


My wife’s accusatory glare and weaponized tongue,
Carrying years of racked-up bitterness,
Jabbed, punched, kicked, stabbed.
She flayed me inch by excruciating inch.

You’re a grown man. Stop moping around.
Get off the fucking pity wagon.
Since the beginning, did you have zero intention
Of being fully committed to this marriage?
I gave up law to be a housewife. Am I not enough?
Oh, forgive me for interrupting your endless reveries.
While you’re busy mourning your teenage sweetheart,
I’m here, flesh and blood,
Holding together the family you keep forgetting.
Are you satisfied tormenting me and our child
Because you refuse to let that girl go?
Why do I need to measure up to an idealized teenager?
How is it possible that someone you dated
Fifteen fucking years ago,
Who doesn’t even exist anymore,
Matters more to you than your wife,
The mother of your own fucking kid?

My lovely wife had a lawyer’s soul:
She saw every argument as a chance
To uncover flaws in logic,
To chip away at the opponent’s stance,
To claim the victor’s glory.
As for me, beaten and battered,
I had become a ragdoll
Growing threadbare by the day.

Whenever I anticipated the acidic talk,
I cowered inside my besieged mind,
Clutching at the crumbling battlements,
Lacking the strength to yell at her, or beg her,
To shut the fuck up.
My wife, along with her vindictive glare,
Elbowed her way into my memories of you
To contaminate that sanctuary,
And every time she brought you up,
A pang rippled through my scar tissues,
Echoing, “You’re dead, you’re dead.”

Getting married, sharing an apartment,
Should have provided a traveling companion
With whom to endure this lonesome life.
Instead, I spent my energies erecting walls
To shield my gangrenous heart,
And to muffle any human utterance
Until it became incomprehensible noise.
I felt like I had invested my adulthood
Anticipating a visit to a luminous city,
Saving up and planning meticulously,
Only to arrive at a filthy, ruinous dump
Infested with vermin.

I had surrendered control
Of my meat-and-bones vessel
To someone who didn’t respect me,
Who exploited and mistreated me.
I wished a yawning chasm
Would swallow my wife,
My apartment, this city,
But the mirror of time showed
My stooped figure decades older:
A stammering, browbeaten coward
Just like my father.

My wife was loading the dishwasher
When she casually spewed an attack
That I recognized by its acidic tone,
Even though I had blocked the content.
This time, instead of keeping quiet,
I told her to turn around and listen.
She froze, then straightened up,
Closed the dishwasher with her hip,
And faced me, arms folded,
Her gaze fixed upon me
Like the muzzle of a revolver.

“Each morning since April 27, 1999,
I wake up to the absence of the person
Who made living worthwhile.
You’ve never lost anyone dear,
So you cannot possibly grasp
This grief that has eroded me daily.
You’re frustrated because I have failed
To measure up to your ideal husband,
But I’m the man that remains,
And though I stumble, I’m here,
Doing the best I can with what’s left.
Countless times I’ve wanted to die,
But I chose to keep going for you,
And for our son, who deserves a father.”

“Stop neglecting our family by prioritizing
Your unhealthy fixation with that girl.”
“Do you think I have a choice?”
“Get a fucking therapist. Take antidepressants.”
“Should I erase her, then? Pay to have her scrubbed?”
“You act as if she were the love of your life,
Even though she ruined you.”

Her words had shotgunned my ribcage.
I breathed slowly to quell the shaking rage.
“Maybe love and ruin are interchangeable.
You know, when I agreed to marry you,
I had hoped for a lifelong partner
Who would inspire and encourage me,
Who wouldn’t insist on harassing me
Over the most traumatic event of my life,
Who would provide even a fraction of the joy
That Izar gifted me by simply existing.”

On the opposite side of the kitchen island,
The skin around my wife’s eyes tightened
As her lawyerly mind analyzed my words
For openings, inconsistencies, weaknesses.
Amid the tension, an out-of-place noise:
The creak of our son’s bedroom door.
Drowning out my wife’s bitter tirade,
I imagined his small heart pounding.
Behind that door, a wary creature
Hoped to escape notice.

That evening, I ventured into his bedroom,
Whose walls were a galaxy of space paraphernalia.
My son, reclined against the pillows,
As the glow of the bedside lamp
Illuminated his focused features,
Lost himself in a novel titled “Ender’s Game.”

He tilted his face upward at me as if I were a sun
Failing to warm his frozen planet.
Those glasses magnified deep-set eyes
Whose gaze held mine warily.
“I read that one back in middle school,” I said,
“And I remember enjoying it quite a bit.”
“It’s good,” he said,
Then refocused on the page.

How could I, a ruined man, improve my son’s life?
Instead of training him to carry on into the future,
To survive despite crushing unhappiness,
Perhaps I should abandon him,
Let his resilient mother forge ahead
Without the burden of my misery.

Izar, if this child had belonged to us,
How would you have nurtured him?
You, the sun I revolved around.
You, who had taught me what it meant
To make the best of a crumbling world.

My son and I rode on leg-powered bikes
Past the ruins of Roman furnaces.
Our pedals and chains clicked rhythmically.
On the muddy path beneath our tires,
Gravel crunched and stray twigs snapped.
Puddles from recent rainfall mirrored
The dove-gray cloud cover
And arching, naked branches.
A blanket of fallen leaves blurred
The boundaries of the unpaved path
Flanked on our left by an ancient wall:
A mosaic of weathered, moss-daubed stones.
The mist that hung in the air cooled my lungs.

We reached a fork in the trail
Where a slope would force us to dismount
And push our mountain bikes uphill
While seeking purchase on exposed stones.
“Let’s head up there,” I said.
My son, as he readjusted his helmet,
Shot me a skeptical look.
“Where does it lead?”
I got off my bike.
“I don’t know.”

A meandering dirt path, worn by footsteps
But now reclaimed by nature,
Opened to a clearing of greens and browns
Where square, one-story buildings stood,
Their once-white walls aged, stained,
And half-conquered by creeping ivy.
“Maybe we shouldn’t be here,” my son said.
I stopped and listened to the chirping birds,
To the distant creaking of branches,
But no one had claimed these ruins.
“Let’s explore,” I said.

We were rolling our bikes through the garden
Of a family gone for decades.
An anonymous hand had gathered stones
To form the sinuous banks of a stream.
Water rippled, reflecting dapples of sunlight.
Wide-leafed plants, unique in these woods,
Still blossomed white, bell-like flowers.
Beside the stream, on a filthy, pitted wall,
An intact grill guarded a window opening
That gaped like a hollow eye.

My son followed cautiously.
“How old do you think this place is?”
“It belongs to the Roman era.”
“C’mon, dad. Romans lived, like,
A thousand years ago.”
“More like two thousand.”
“Mom would scold us if she saw us
Wandering around abandoned places.”
“No doubt. But she doesn’t have to know.”
“Imagine if we owned this secret space,
And transformed it into a hideout.”
“These days? They would take it from us.”
“What if zombies attacked now?”
“We should have brought baseball bats.”
“I bet if I had a machine gun,
I’d blast every last one of them.”
“Good luck convincing mom to buy that.”

We let the bikes fall into a patch of tall grass,
Then we entered the roofless, derelict house.
Its floor was carpeted with dried leaves
That crackled under our sneakers.
Against the inner walls and their peeling paint,
Someone had arranged piles of chipped bricks,
Remnants of moss-cloaked furniture,
Rusted mattress springs.
Logs lay scattered, their bark mottled.
Weeds had sprung up all around,
Thriving amid the detritus.
I inhaled the scent of moist soil and tetanus.

At the end of the garden stood a woodshed
Stacked with logs shrouded in grimy cobwebs
Like antediluvian bones in a catacomb.
Decades ago, the owner picked these logs,
Hand-chopped them, and stored them as fuel
For fires that would never come.


Author’s note: the songs for today are “Swan Dive” by Waxahatchee, and “Cosmic Love” by Florence + the Machine.

Review: Sputnik Sweetheart, by Haruki Murakami

Three and a half stars.

Let’s focus on the most memorable character of this strange little tale: a young adult named Sumire, who dropped out of college to pursue her dream of becoming a published author. She’s disorganized both in her personal upkeep as well as her approach to writing: she can start or finish stories, but not both. She suspects she will never become a pro, but can’t imagine doing anything else, and when she turns twenty-eight, her parents will stop financing her lifestyle.

She’s used to calling the narrator at odd hours of the night to discuss her worries and seek his guidance, even though the guy is a school teacher and could use the sleep. However, they’re each other’s only friend in lives that have been characterized by solitude and detachment. Sumire is unaware that the narrator is in love with her, or pretends that she doesn’t know, but she can’t reciprocate his feelings because she’s in love with a Korean-born woman who’s about fifteen years older than her.

The little there is plotwise (not that I mind; I tend to dislike convoluted stories) involves the Korean woman, named Miu, hiring Sumire as an assistant; the lady runs a wholesale business that buys wine from fancy places and sells it in Japan. Even though Sumire fears that keeping a job will wreck her literary aspirations, she surrenders to the flow of a routine that allows her to spend her days with her beloved Korean mommy. Soon enough they’re jet-setting all over the world.

The narrator fears that he’s going to lose Sumire. She writes him a letter from Rome, but shortly after he stops receiving news from her. Suddenly, the Korean lady herself calls him: he’s to abandon everything he’s doing in Japan and hurry to a small Greek island, because something has happened to their friend.

That’s all I want to reveal about the plot. My favorite parts of this story take place in Japan, when Sumire and the narrator are interacting. Murakami knows how to weave a spell when he’s letting you experience the private lives and interactions of his characters, who are usually lost and trying to understand themselves as well as the world they have found themselves in. His Norwegian Wood reached the heights in that regard, as far as I know from his works. But as in plenty of his other stories, Murakami introduces supernatural elements that for me weren’t supported by the story, and that distanced me from the characters. Even though Norwegian Wood made Murakami a known author (and a millionaire), it’s perhaps one of the least Murakami-ish books of his. Worse yet for me: often the supernatural elements he includes feel random, as if he came up with them during freewriting but couldn’t make them fit in, or didn’t care to do so.

Murakami’s writing also has this thing in which he’s on the verge of saying something profound, of hitting some transcendental point, only to screw it up with a few lackluster phrases that don’t say much of anything. I don’t recall how common that was in Norwegian Wood, but I had that impression quite a few times during this story. The narrative also features texts written by Sumire, and it didn’t help that her style annoyed me.

My least favorite element of the story was the narrator himself. Murakami’s male narrators are often bland, tepid, non-committal, and the one from this novel I’m reviewing is the epitome of those, that I can recall. His opinions seemed vague, unconvincing, held because they wouldn’t require him to take a firm stance on anything. I had a hard time understanding why Sumire would care so much for him. Worse yet, his morals were beyond questionable: all his girlfriends were other men’s girlfriends or wives, and he let a shitty little kid get away with his kleptomaniac ways for reasons that for me had more to do with dislike of authority.

The main theme that Murakami was playing around with centered on the notion that some people are doomed to a life of solitude, and that their instances of true contact with other alike souls will be fleeting, like two satellites briefly passing each other. By the end, the story left me feeling empty, as if something important had been lost along the way, so good job for capturing that impression.

Here are some quotes from the book:

Why do people have to be this lonely? What’s the point of it all? Millions of people in this world, all of them yearning, looking to others to satisfy them, yet isolating themselves. Why? Was the earth put here just to nourish human loneliness?

I dream. Sometimes I think that’s the only right thing to do.

And it came to me then. That we were wonderful traveling companions but in the end no more than lonely lumps of metal in their own separate orbits. From far off they look like beautiful shooting stars, but in reality they’re nothing more than prisons, where each of us is locked up alone, going nowhere. When the orbits of these two satellites of ours happened to cross paths, we could be together. Maybe even open our hearts to each other. But that was only for the briefest moment. In the next instant we’d be in absolute solitude. Until we burned up and became nothing.

The answer is dreams. Dreaming on and on. Entering the world of dreams and never coming out. Living in dreams for the rest of time.

We each have a special something we can get only at a special time of our life. Like a small flame. A careful, fortunate few cherish that flame, nurture it, hold it as a torch to light their way. But once that flame goes out, it’s gone forever.

Life update (04/03/2024)

I’ve returned to work after the Holy Week holidays. I’m one of those authors who can’t earn a living through his works, and who clearly never will: I only write because my subconscious demands it, and I find myself disquieted by human company (to put it mildly), so networking is out of the question. My job as a computer technician at a hospital forces me to interact with non-technical-minded people who are generally also chatty, which is by far the worst part of my day, and I hate working at an open office, which forces me to absorb inane bullshit from coworkers. However, my job puts me in front of a computer for hours, and it allows me to edit my texts between tasks. I’ve settled into the routine of waking up at five in the morning to freewrite the next part of my story, then editing it at work. My editing process takes about fifteen times as long as producing the first draft, and it would likely drive anyone else insane, as I sieve through every single word to ascertain their place in the scene as well as the story at large. I also consider many alternatives along the way. Thankfully, due to autism and OCD, I find that process comforting; I’m uniquely suited to such painstaking tasks.

Also, I have experienced the private shame of returning to past texts and finding them awfully written, even though I was sure they would be good enough. The worst recent example was when I was commissioning the cover for my previous novel in English, titled My Own Desert Places. I linked the artists to the first couple of chapters, back then up at this site, warning them that they would require a revision. When I reread them, I was appalled to find out that the first few chapters were abysmal, nearly incoherent, to the extent that I questioned my mental state back when I uploaded them in the first place.

I think that during a shortish period of time back in 2020-2021, I prided myself in pushing out 4,000-6,000 words out a day, which isn’t hard at all to do if you rely on an outline, lack a social life, and freewrite everything. My Own Desert Places ended up being about 100,000 words long, and I finished it in a couple of months. Compare that with my ongoing narrative titled Motocross Legend, Love of My Life, that has reached 20,000 words in nearly four months. For me, though, the difference in quality is extreme. Although I loved that novel and I’m generally proud of it, one day I intend to revise it, republish it, and lead readers toward it again, but I dread what I’m going to find there.

Anyway, I’ve come to the troublesome realization that, although I dislike working as an IT guy at a hospital, it’s probably better for a writer, regarding the quality of their stories, to keep a full-time job unrelated to writing fiction, as long as it allows you to edit your texts. When you’re constantly aware of how little time you have to produce something meaningful, you don’t pad it with crap. Many full-time authors become self-indulgent, end up believing that anything goes. They are also required to push out books on a regular schedule to support themselves, therefore imposing extraneous deadlines on the material. I’m of the belief that a story takes as long as it needs to take, and somehow I’m always surprised when my stories end up ballooning far beyond my expectations, while feeling that what I have to include is necessary. For example, I was quite convinced that Motocross Legend, Love of My Life would take about four chapters, after which I would return to working on my ongoing novel. However, it will likely reach sixteen chapters, and along the way I have had to discard many moments that would have been good enough, but that ultimately weren’t necessary.

Although I write stories that in general terms could be considered literature, I barely read novels these days, opting for manga instead. In the last few years, I have failed to finish, or even get far into, the novels that have landed on my hands. More often than not it’s because the author is confusing their duty of telling a story with that of propagandizing a political ideology, which seems to be the default position in this rotten modern world. You likely won’t get published otherwise. Japanese narratives, at least manga, are free from this rot, and if you want Western stories that won’t stink like someone is just checking boxes and pleading not to be canceled (assuming they don’t have a far more sinister goal in mind), unless you come across a special author, you have to delve into the pre-2001 stuff, before the last remains of sanity were demolished.

I can count on one hand the amount of novels that have affected me as if I had lived through those events, that have connected with me so meaningfully. One of them, read when I was twenty or so, was Haruki Murakami’s Norwegian Wood. Unlike in most of his other stories, that one felt to me like Murakami was expiating a sin, as if he truly needed to tell the tale of a doomed girl and the adrift young man who loved her. Many years later I came across details of the author’s life that clarified for me that he was indeed expiating something: he had betrayed a college girlfriend of his, only for her to end up doing something irreversible. Norwegian Wood is, at least for me, clearly imbued with that regret, with the need to go back in time and save someone. I have something of a savior complex (plenty of my dreams or daydreams over the years have had to do with literally going back in time and saving people), and I’m hopelessly attracted to doomed females, with goes a long way to explain my attachment to that book as well as to other narratives such as my favorite manga series: Inio Asano’s Oyasumi Punpun.

Anyway, I figured it was time to get back into reading novels, but I didn’t want to waste my time with stories that wouldn’t affect me meaningfully. I went the route of searching for novels similar to Norwegian Wood. Unfortunately, book recommendations rarely work for me; too many times I’ve been recommended stuff like Ishiguro’s Never Let Me Go, which I found abysmal. My brain works differently to other people’s, so necessarily I don’t enjoy nor want the same things others do. Regarding stories, I want the author to put me then-and-there along with the point of view character, to experience their lives as they do. The narrative usually has to delve deep into mental issues, solitude, attempts to understand the world, and so on. I hate authors who waste people’s time with unnecessary material for pseudo-ideological reasons, for example forcing you to slog through paragraph after paragraph of noise because the real world is like that. Plenty of postmodernists fall into that category. No thanks: I’m fully aware of how annoying and ultimately meaningless the world is, and I read to escape from it. Also, any story has to compete with my daydreams; if they can’t offer me something more engaging than what I can effortlessly picture in my mind, I won’t struggle through it.

Unsurprisingly, some of the recommendations included Murakami’s other books. One of them, Sputnik Sweetheart, published in 1999, was the second of his I bought in Spanish after Norwegian Wood fascinated me. I have the distinct memory of having read through the book twice over the years, but apart from a few quotes that I likely came across on Goodreads, I couldn’t remember any single detail of the story. Now that I’ve gotten three quarters of the way through it, I’m disturbed to have found out that, indeed, I have forgotten every single detail of the story, as if I had never known anything about the aspiring author slash love interest that most of the narrative focuses on, nor the woman that the author was interested in, let alone the generally plain narrator. It makes me wonder about my state of mind when I read the book those two previous times, or if I’m genuinely losing mental faculties. I remember very little about my life, I suspect due to my lifelong issues with clinical depression; most of my twenties draw a blank. But at least I could rely on stories making a lasting impact on me.

Anyway, I think those are the only impressions I wanted to post on here for reasons that aren’t clear to me. Work is underway on my ongoing novella Motocross Legend, Love of My Life, which I should be able to bring to a satisfying conclusion, even though I suspect very, very few people care; I have never had such a low engagement with a story as with the sad tale of one aspiring motocross rider and the man who was left behind. I have no idea why, because I think it’s quite good. Check it out if you want.