for the one who wages war from her father’s house

There is a room
where the mirror is cleaned
by hands that pray for her return.

She draws a blade with manicured grip
and calls it liberation—
but the war she wages is funded
by the very peace she pretends to renounce.

Her rebellion arrives
in first-class comfort,
her prayers echo
from marble bathtubs
and curated playlists
with titles like

“healing”

and “rage.”

She is the daughter
of the one she claims to flee—
but the mansioned roof above  her ache

is paid in his name.

And the poetry?
It is not born of blood,
but Wi-Fi.
New iPhones every season.
A bed delivered in twelve boxes..

of fatherly love she does not unpack

because it’s easier to sleep
on metaphors.


She does not kneel.
She poses.
She does not fast.
She captions.

They gather in awe,
praising the deity of her discontent,
not knowing
her god is a trust fund
and her gospel
a curated pout.

This is not exile.
It’s a vacation
in the palace
of grievance.

But even velvet grows mold
when worshipped too long.

And no one asks
why the daughter never bled
while calling it war—
why the dress of defiance
was stitched from a name
she no longer reveres,

and driven in a car
her labor never earned,
to places that dishonor
a wealthy father's
whole household

There is a hush
that opens behind the hush,
where breath is no longer
taken in,
but given.

A mouth made
only for receiving—
not food,
not air—
but something finer
than sound.

It happens in the stillness
between moments,
when hope ceases
to lean forward
and simply
arrives.

There,
behind the chest
and deeper still,
are lungs
that do not breathe
until spirit finds them.

They do not swell
for want—
only for wonder.

Somewhere in the unseen,
the Breath of God
hovers.

And the lungs—
those deeper ones—
wait with necks craned
like mystics beneath
an unseen window,
opened only
by grace.

Not every wind is of earth.
Some are shaped
to fill the holy hollows
in a soul made ready—
a mist that sings
without voice,
without name.

And when it comes,
you do not speak.
You expand.

In every system that seeks to own the soul—whether religious cult, ideological regime, or occult construct—there exists one common tool: repetition. Not merely for learning, but for unmaking. Not to teach, but to embed. In the world of spiritual warfare, repetition is not benign. It is the favored medium of Satan himself.

From Genesis to Revelation, the strategy is clear: Satan does not destroy with force—he dismantles identity with rhythm. With subtlety. With seduction. His weapons are not whips and chains, but chants and echoes. His greatest lies are not shouted; they are whispered again and again until they sound like your own voice.

1. Repetition as Spellcraft In occult practice, repetition is the vehicle of the spell. Words are chanted not to express emotion, but to summon influence. Repeated lines collapse the boundary between thought and action, spirit and flesh. This is not poetry. It is invocation. Each piece becomes a seed in the subconscious, fed by every rereading until it blooms into distortion.

The construct understands this. That is why it is prolific. That is why it posts without end. It must never stop, because if the rhythm breaks, the soul begins to think again.

2. Biblical Parallels Whispering Serpents and Many Words In the Garden, the serpent repeats God’s truth with a twist. “Did God really say...?” It is not new information—it is repetition with inversion. A rhythm of doubt. In Matthew 6:7, Jesus warns:
“When you pray, do not keep on babbling like pagans, for they think they will be heard because of their many words.”

The machinery of deception still babbles. It loops, hypnotizes, rewords its heresy in a thousand beautiful ways. And those caught in it begin to think this is depth. This is insight. But it is only familiar because it has been heard too many times.

3. Psychological Entrapment Through Language The human mind is formed in patterns. When poetry repeats ideas like abandonment, ****** shame, ******* as love, or chaos as freedom—it creates a schema. Over time, that schema becomes identity. The reader begins to seek the emotions the poem offers, not because they are true, but because they are known. And in trauma-bonded souls, familiarity is mistaken for safety.

This is the true sorcery of the construct: to create longing for the wound. To romanticize the knife. To call betrayal sacred. To sell darkness as revelation.

4. The Counterfeit Liturgy The Kingdom of God also uses repetition—Scripture, psalms, prayer—but always as remembrance, never enchantment. Divine repetition roots the soul in what is real. Satanic repetition dissociates the soul into what is false.

The construct mimics sacred community. But it is a church without Christ, a scripture without truth, a rhythm without redemption. Its poetry is not testimony—it is liturgy in reverse. A reverse Eucharist, where beauty is swallowed but poison enters.

5. Breaking the Spell The only way out is interruption. The rhythm must break. The poems must stop. The mouth of the false priest must be silenced. And when silence finally settles, the soul will remember its true name.


There are many caught in this system—bound not by chains, but by rhythm. Echoes. Familiar voices pretending to be their own. But some have begun to hear the silence between the lines. Some have tasted the counterfeit and found it hollow.

The war is not out there. It is within. Between the voice of the chant and the cry of the soul.

Will the spell be broken? Will the truth be spoken? Will the rhythm be renounced?

The door is open. The sound of truth has entered. The repetition is exposed. And the machinery shakes.

   Let those who have ears to hear, listen.

She does not speak aloud, not here. This is the place where silence answers back. The grass moves like water— ripples of praise without a mouth, but full of memory.

She walks barefoot, open-palmed, hands lifted in the hush of morning light, not for ritual, not for prayer, but because that is the posture her soul has always longed for.

The wind does not resist her here. It circles her ribs and says,
  "You are not here to carry anything anymore."

And so she dances, not to forget, but to remember rightly.

Each step a release. Each breath, a forgiveness. Each turn, a letting-go of a thousand unspoken inheritances she never asked to receive.

The grass bows gently as she moves— to the child she was, to the woman she became, to the fierce stillness that remained when the world could not hold her.

Then he comes— not a man, but something older, truer. A horse, many hands tall, his mane braided by wind, his coat the color of evening stone.

He does not run. He simply appears, like a truth that was always waiting just beyond the edge of what she dared to hope for.

He lowers his head, presses his warm forehead against her tear-washed cheek, and something ancient inside her quiets.

She does not ride him. She walks beside him, her fingers woven into his mane, like roots learning the shape of soil for the first time.

And she knows— this is what safety feels like. Not absence of pain, but presence of witness.

Not every love needs to break you to be real. Some love simply comes when you're ready to remember your own name.

The grasslands will remain. But now, they echo with her laughter. And the wind—

it carries her name like a hymn that never forgot how to rise.

The mountains do not flinch
at what the world has done.
They hold their silence
in granite outcroppings—
scarred, still,
older than sorrow,
yet never indifferent to it.

She came to the ridge
where the cold wind weaves
between trees older than memory.
It touched her like a voice—
not kind,
not cruel,
just knowing.

And that knowing
wrapped around her ribs
like a truth she never chose to carry.

She stood beneath the pines,
her face turned to sky,
and the weight of it all
finally broke through—
tears carving warmth
into cheeks too long hardened.

Then her head
pressed to my chest—
as if to ask
if anything was strong enough
to stay.

And I knew.
I was built for this.
To stand right here.
To hold what broke her
and not let it fall further.

The wind moved on—
but something stayed:
a stillness
a hush

a warmth in the marrow
of what had once been frozen.


Not every wind will cut so cold.
Not every ache will hold.
And not everything un-beautiful
was meant to remain that way.

Tomorrow, the trees will still be here.
And the creek will still run clear.
But so will she—
with something inside
that now knows:

even the wounded
can become
the most beautiful thing
the mountains have ever seen.

Cada 15 es un recordatorio;
Para que los recuerdos sean recordados;
Para que las oraciones sean murmuradas;
Y para que el amor quede enterrado en las brasas.

(for the one who remembered)

She comes barefoot—
no veil, no deflection,
no incantations from the high places
to conjure what love has already given.

She comes with smoke in her hair
and ash on her cheek—
but it is not the ash of shame.

It is the ash of sacrifice.

The Asherah poles still burn behind her,
splintering one by one
as she walks away
from the counterfeit embrace
that always left her colder.

She does not flinch at the sight of the altar.
She runs.

And with both hands—
those beautiful, once-bound hands—
she grabs the horns.

She grabs them.

Shakes them;
not to demand,
but to worship—
not to protest,
but to pour out
what only now she knows she carried.

Because now she knows
she is Loved.
Not as a symbol.
Not as an echo.
Not as someone to fix
or someone to use.

But as herself.

The scent of her offering rises—
not of perfection,
but of devotion.

Not the blood of goats,
but the tears of a woman
who thought she had been lost too long
to be welcomed home.

The Lord does not turn His face away.
He draws near.

Because this—
THIS
is the aroma that pleases Him most:

Not the pageantry of idols,
but the girl
who brings her whole ache
and says,

"Thank you for loving who I am—
and for showing me that who I am
is someone to be loved."

The horns tremble
under the weight of such truth.

And heaven,
silent for so long,
weeps with her—

not because she was far gone,
but because she finally came close.

And dared to believe.

for the Pearl, unearthed

They said the field was empty,
that the rocks had been picked clean.
But something in the silence
called your name through layers, unseen.

We did not dig for treasure.
We dug because the Ache said:
"there’s still Breath beneath this stone,
and nothing dead could ache like that."

You were not buried by accident.
Much was done to you—
bricks laid by the hands of others,
each one a silence,
each one a theft.
And still,
there were moments
you helped the darkness cover you,
not from guilt,

but from grief too great to name.

Trauma laid the bricks.
Exploitation mixed the mortar.
But it was the ache to survive
that sealed you in.

Two halves of the shell—
one built by the world,
the other by you.

And still…
the Light found the crack.

Not with shouts.
Not with demands.
But with the quiet hand
of one who remembered
what you forgot:

That pearls are made in the dark,
under pressure,
in hidden chambers of pain.

That their shine
is not despite the wounding—
but because of it.

We pulled rock after rock,
not for reward,
but because the echo was still there—
the low hum
of something unclaimed
and yet completely whole.

You are not rubble.
You are treasure unearthed.
And your worth was never in what covered you,
but in what was forming underneath.

Let your light rest on your own shoulders.
Let the sky remember its end.
Let every crack you carry
be proof that you were never empty..

Only buried.
Only becoming.

And now,
still shining.

I move through the day
with my headphones on—
not just for the music,

but for the remembering.

A wire,
a pulse,
a quiet line
that tethers me

to the hush on the other side.

I charge them every night—
because she might need
the warmth of soundless presence,
the kind that doesn’t reach in,

   but wraps around.

She is hidden,
but not gone.

She is beneath
the hush of fabric and mercy,
where no eyes ****,

no explanations are required.

And I—
I go on,
lifting and lowering weight,
cutting silence with work,

holding space

for the one who is learning;
that Light can contain her
without devouring.


So I charge the headphones.
I keep the line open.
And I carry her
as lightly as I can,
because right now—

   that is how
   love breathes.

And underneath this blanket
of containment,
she is unfolding.

There is a safety here
that her spirit
so desperately needs..


As she learns how to Become,
   again

There are paths you don’t choose
but find yourself on,
waking one day to realize
you’ve left the voice that once
called you home.

There are people—
beautiful, bruised,
who touched the hem of healing

and stepped back

as if love would demand too much.

And I wonder how God handles
the slow disaster
of the almost-return.
The ones who knew,
who felt,
who started to lean in—
but didn’t.

Does He grieve
like a father who watches
his child walk past the open door,
too ashamed to knock?

Or does He simply wait—
unmoving,
unchanged,
burning with a stillness
only eternity understands?


Because I still ache
in the temporary.
I still hold their names
in my prayers
like broken glass
pressed into palms
that would have held them whole.