\ncompose music, in eighth grade, back
\nwhen my concern was to score colorful,
\nsimple role-playing games I had created
\nwith RPG Maker 2000. A couple years
\nlater, I used new software, hunched
\nin the dark of my mom\u2019s living
\nroom, toying with FL Studio\u2019s virtual
\nequalizers, knobs, and keyboard to craft
\nSchizotrope, <\/em>the name of the album
\nI wrote to process a breakup,
\nan attempt to conjure you through
\nsome combination of melody
\nand soundfont. When I listen
\nnow, I hear us both a kind
\nof cacophonous ghost. Back
\nthen, it was simple to slip on
\ncheap earbuds and recede into
\nmy childhood bedroom, where we
\ndid what I thought\u2013 when growing
\nup\u2013 was growing up. So shifted the
\ntrajectory of my songs. And speaking
\nagain of early sex, I sang off-key into my
\ncoffee-stained Hewlett-Packard\u2019s built-in
\nmicrophone, made a MIDI sound
\nmarginally authentic to gift myself, in
\nthe future, reverberations of my coping.
\n
\n
\n
![\"\"](\"https:\/\/www.artvilla.com\/plt\/wp-content\/uploads\/2019\/09\/James-Croal-Jackson-5-300x263.jpg\")
<\/a><\/p>\n
\n <\/p>\n
James Croal Jackson (he\/him) has a chapbook, The Frayed Edge of Memory (Writing Knights Press, 2017), and poems in Pacifica, Reservoir, and Rattle. He edits The Mantle (themantlepoetry.com). Currently, he works in the film industry in Pittsburgh, PA. (jimjakk.com<\/a>) Robin Ouzman Hislop is Editor of Poetry Life and Times<\/a> ; his publications include
\n
\n
\n <\/p>\n
\n
\nAll the Babble of the Souk<\/em> <\/a>, Cartoon Molecules<\/em> and Next Arrivals<\/em>, collected poems, as well as translation of Guadalupe Grande\u00b4s La llave de niebla, as Key of Mist<\/em> <\/a> and the recently published Tesserae<\/em> <\/a> <\/u>, a translation of Carmen Crespo\u00b4s Teselas.
\n
\nYou may visit Aquillrelle.com\/Author Robin Ouzman Hislop <\/a>about author. See Robin performing his work Performance (University of Leeds)<\/a><\/p>\n