But like I was saying, I would love for you to share your work because I was very curious. You know, I know you've done some charcoal pieces, and they're very, very strong and powerful pieces. You worked physical pieces, right? Charcoal and paper.
Yeah, I use some of my work, some of them. It's digital things. And some of them, charcoal and ink on the paper.
Please let me share. Yes, because I found some of them, they are extremely powerful. I really enjoy it because I love the way you have that old paper look, like the way your PFP is.
So it really looks nice. One moment, please. You had your hand up too.
Yeah, I was going to say, since you have Pep's picture up there and having heard Blue's incredible poem, I was wondering if you would like me to read that poem I wrote in response to Pep's piece. And it goes along, I think, in a certain way with the idea underlying what makes a really great poem. I'm not saying this is a great poem.
No, no, I hear you. Yeah. Yeah, no, I think so.
Because I think what I was trying to, for people to keep in mind, is the triggering off. Yes. Your poem was triggered off by seeing Pep's work and that we had had a discussion.
Right. But when Blue had his, it triggered off like, oh, that's the picture I remember. Yes.
So, yeah, it's an interesting, silent conversation without realizing there's a thread that's going around right now. Yes. Please, yes, please, do recite that poem for us.
Okay. This is called What We Don't Say. My first poems were not brave.
They were not clever. They were places to put what time had no patience for. I gave the words to others, bubble people, thin-skinned, translucent lives who floated to rooms I could not enter without being noticed.
