This was really good. I liked the line "As I sing the stuttered song." I could really relate to it, & the whole poem in general.

My only complaint is the line "past any semblance of recongizeability." I'm not sure that's a word. Maybe you were thinking of recognition? or recognization? I'm not sure. Either way, good work.

-Rawr, from the RM, link's in my profile.

Bravo! I love the stiltedness of the short lines! "Recognizeability" sounds so wonderfully awkward as a word; I like how you put it there stark, on its own.

The repetitive structure of the poem is effective too; shifting from the visual distraction of the shoes to the task of communicating, and then back to the visuals of the room, then to the communicating again. The fact that in the second instance of the cycle you refer to it all as a long-practiced song really reflects the circular, recurrent nature of the experience that is conveyed in the poem's structure. The manner in which you refer to the different colours of shoes, and the differentiation between thoughts, words and phrases, and the features of the room - they all convey a fragmentary sense, along with the shortness of the lines. I like that the cyclical theme is not only confined to the confession itself, but to multiple confesisons, as the whole experience recurs every day, as is hinted at at the start and the end of the poem, so it appears that throughout the course of the poem the character in the poem has completed a revolution of the wider cycle. It is truly as if the eponymous character's mind process is a constant jumble of thoughts that keep coming and going, but won't connect.

The fragmentary nature of the poem, and the Italian title "Per Amore", seems to echo the traditional Italian sonnet writing style that grew out of the middle ages. The Italian poets of the medieval 'dolce stil nuovo' literary movement and the poetry that followed it and later imitated it placed a great emphasis on the description of isolated physical features of the love interest - such as the hair, the eyes, the skin, etc. Your opening description of the shoes could be perceived as a modern take on this fragmentary description of the features in isolation - although the unelaborated narrator-eye-view of the shoes really realistically captures the nervous staring at feet, and is very evocative in this way also! Keep up the good work!

This is my favorite poem of yours and I have no idea why. Aren't I helpful?

nice. i like c: