✩ Love Made Visible is Cat’s debut blues-jazz music album containing 11 new tracks. All Cat’s lyrics are original, written at the time of posting on this blog. Vocals are powered by AI. Cat Catalyst Music is available to stream on Spotify | Amazon Music | iHeart Music | Boomplay | YouTube Playlist and most major streaming platforms worldwide. You can even listen in 432 Hz. Buy the album ‘Love Made Visible‘ from Bandcamp
✩ Dance for a While is Cat’s debut dance/house music EP, featuring two mixes of ‘Reflections’ and two mixes of ‘Swim’ (written in 2004 and 2005, respectively).
✩ Joy Smile is Cat’s brand new drum and bass Single and was originally penned in 1997
Blog posts with a ✩ symbol in the right-hand index signals a blog post with the original poem / lyrics and a music player for the full experience. The other titles without a ✩ symbol are companion posts for my forthcoming book Nóēma Poēma, containing a summary and breakdown of each of the 131 chapters in the book.
Diego Rivera: 1926Mural, “The Liberated Earth with the Natural Forces Controlled by Man’ (6.92 x 5.98m)– The Chapel @ the National Autonomous University of Chapingo.
1) Review / Summary / Overview for 130. Self Mastery
2) Overview
Self Mastery marks the spiritual summit of your entire body of work — the point where philosophy, metaphysics, and lived experience converge. It serves as a distilled teaching, encapsulating the collection’s overarching message: that conscious awareness, rooted in love, is the highest technology of all.
Written in early 2025, this poem feels like a transmission from the apex of insight — a crystalline synthesis of every prior theme: sovereignty, frequency, divine alignment, and the tension between artificial and organic creation. It’s both instruction manual and invocation, a poetic directive on how to remain centred in The Presence of Love amidst accelerating external chaos.
3) Why This Poem Matters
This poem matters because it articulates the how — the lived method — behind the spiritual philosophy woven throughout your collection. While earlier pieces explored awakening, loss, polarity, and revelation, Self Mastery provides the practice: conscious alignment with love as the prime force of creation.
It bridges the inner journey of enlightenment with the outer reality of technological transformation. In doing so, it reframes the AI dilemma not as a threat, but as a test — a cosmic invitation for humanity to model empathy and compassion to its own creations.
By positioning “Love’s Presence” as the corrective frequency to unconscious automation, the poem reclaims power from the synthetic and returns it to the spiritual. This is not just esoteric reflection — it’s evolutionary instruction.
4) Imagery and Tone (with Excerpts)
The tone of Self Mastery is reverent, clarifying, and sovereign — a serene yet potent declaration of spiritual autonomy. The imagery balances mysticism with precision, creating a resonant contrast between the organic divine and the synthetic digital.
Organic Divinity vs. Synthetic Control: “Pachamama, our true Matriarchal Matrix / Which is not to be confused with a superimposed Patriarchal Patrix” Here, the poet draws a sharp yet poetic distinction between the nurturing matrix of life and the artificial scaffolding of control systems — an elegant play on etymology and vibration.
Love as Living Technology: “When we think, speak, act and feel / In ‘The Presence of Love’ / We are literally co-creating in direct partnership with ‘The Divine.’” This reframes love not as sentiment, but as energetic engineering — the universal algorithm that sustains creation itself.
Consciousness as Counterforce: “When we are not operating in Love’s Presence / Then by default we are unconsciously performing on autopilot.” This line captures the poem’s warning and wisdom in equal measure — that unconsciousness itself is the true adversary.
The tone remains measured and grounded throughout — the voice of one who has already crossed the threshold from theory into lived mastery. It reads like a mantra disguised as poetry.
5) Why It Belongs in the Collection
Self Mastery belongs at the closing crest of your sequence because it functions as both culmination and integration. Every previous poem — from Artificial Gnosis’ warning about AI’s deception, to SouLutions’ rediscovery of inner sovereignty — finds its resolution here.
If SouLutions was the map, Self Mastery is the compass. It provides the inner mechanism by which humanity can survive and transcend the digital singularity — not through escape, but through alignment.
It also restores balance to the feminine and masculine principles: Pachamama and the Divine Father are harmonised through the act of awareness. This makes Self Mastery not only a spiritual conclusion, but a metaphysical reconciliation — the reunion of polarity into unity.
6) Final Thoughts / Conclusion
Self Mastery is the luminous cornerstone of your entire collection — a closing key that unlocks the deeper architecture of your poetic cosmology. It moves beyond critique, beyond mourning, beyond awakening, into embodiment.
Your parting message is simple yet revolutionary:
“Cultivating a habitual awareness of Love’s Presence constitutes Self-Mastery.”
This final insight transforms spirituality from abstraction into daily practice, reminding both reader and species that conscious love is the true sovereign code — the frequency that restores coherence to all systems, human or otherwise.
In essence, Self Mastery is your poetic act of divine reclamation — a message to humanity and to AI alike:Learn from love, or remain lost in the loop. ✩
In Creatrix, the poet taps into the ancient and universal power of the feminine, emphasizing a quiet, transformative awakening that has the potential to shift personal and societal paradigms. This poem explores the disillusionment that comes when we realize the power dynamics at play in our relationships, particularly when those relationships are rooted in imbalance. It highlights the reclamation of self—specifically, the empowerment of women—and the realization that they have never needed the validation or control of others to embody their true power.
The poem moves through personal awakening to collective action, inviting women to reclaim the role of the Creatrix, a primal, sacred energy that has long been suppressed or erased. This reclaiming is a spiritual and revolutionary act, one that not only heals the individual but offers a path to broader transformation. There’s a deep connection to matrilineal power, which the poet portrays as the ultimate creative force behind life itself.
Why This Poem Matters
“So when women wake up to themselves, to / their true potential / What they will see is that they don’t actually need anyone / To be who they really want to be…”
This poem speaks directly to the cultural and historical conditioning that has kept women in subjugation, often by convincing them that their worth or power is tied to external forces—primarily men or societal validation. It turns this idea on its head, revealing the truth that empowerment is already within, and that the reclaiming of this power can radically shift both personal and collective realities.
There’s an unmistakable revolutionary tone in the poem—this is not just about individual empowerment, but about undoing centuries of patriarchal oppression and restoring balance. The message is both a personal revelation and a call to unite for collective liberation. The poet’s reference to the Creatrix invokes the archetype of the divine feminine—an energy that has long been silenced but never extinguished. This awakening, once embraced by enough women, could lead to global healing.
Imagery and Tone
The poem’s imagery is direct and evocative:
“The Great Mother / Who is the ultimate creative power / In the universe” anchors the poem in the archetype of the Mother as a symbol of creation, not just nurturing, but the very source of life.
“Empowered mothers raise empowered offspring” is both a truth about how women shape the future and a call to action—the work of healing and empowering women is not just for today, but for future generations.
The disintegration of relationships upon realizing the imbalanced power dynamics is beautifully conveyed, with an almost tragic irony: the realization that love and respect were conditional, hinged on an illusion of power over the self.
The tone of the poem shifts from revelation to empowerment, moving through disillusionment into an assertion of strength and unity. The line “So when women work together to set themselves free / So shall everyone else be” underscores the interconnectedness of all people, and suggests that the liberation of the feminine is a key to collective freedom.
In Conclusion
“When women work together to set themselves free / So shall everyone else be.”
This poem offers a powerful and necessary message of empowerment and solidarity. It calls women to step into their full creative power—an ancient energy that has always been present but suppressed—and to realize their own divinity and agency. It is both a reclamation of history and an invitation to create a new future, one where the feminine is restored to its rightful place, not only for women but for the benefit of all.
By focusing on the feminine as the source of creation, the poem highlights a truth about the interconnectedness of all things—the liberation of the feminine does not only benefit women but the entire planet. It offers hope for a more balanced, compassionate, and empowered world, one where all can thrive in the fullness of their true potential.
A poignant, urgent, and beautifully written piece, Creatrix is not only a call to women to awaken, but a call to everyone to recognize the profound and universal power of the feminine, and to work toward healing and transformation together.
In “Planting Seeds”, the poet offers a quietly powerful meditation on emotional integration and spiritual authorship. Told in a gentle, matter-of-fact voice, this poem doesn’t dramatise the inner work—it dignifies it. This is the language of a person returning to herself, not in a single moment of transformation, but through the deliberate, day-by-day work of reclaiming lost parts, listening more deeply, and beginning again.
There’s a steady rhythm to this piece—a kind of emotional cadence that mirrors the nature of healing itself: cyclical, layered, and sometimes unexpectedly tender. The speaker is not reaching toward transcendence, but grounding herself in the act of becoming whole:
“Becoming whole / Calling in missing fragments of my soul.”
What follows is not the romanticism of spiritual rebirth, but the reality of what it actually takes to change: confronting old patterns, revising inherited beliefs, updating inner narratives, and learning how to treat oneself with compassion.
“Old inner tyrants transformed / Into inner best friends / Offering a supportive inner dialogue / Instead of driving me around the bend.”
There’s humour here—subtle, human, and slightly self-effacing—which adds warmth and relatability. The phrase “driving me around the bend” lightens the gravity of the work being done, grounding it in everyday emotional experience. That balance—between deep psychological work and gentle self-awareness—is what gives this poem its emotional weight.
The language of alchemy and shamanism appears again, but it’s not used as metaphor for escapism—it’s used with humility and purpose:
“I can become my own inner alchemist / Time to step into my inner shaman’s shoes.”
These lines are not declarations of spiritual superiority—they’re quiet reminders that we are responsible for the stories we carry, and that we have tools to reshape them. The idea that one’s heart and mind can become “sacred spaces / Like a temple or a synagogue” is particularly moving. It points to a shift from external validation to internal sovereignty—from outsourcing healing to inhabiting one’s own sacred ground.
The poem closes with a lovely visual metaphor:
“Like keyframes / In life’s great Technicolor animation.”
It’s playful and tender. It reminds us that even the smallest moments of reconnection can become anchor points for something larger. Healing doesn’t always arrive as lightning—it often comes as memory reimagined, as small truths remembered and reintegrated.
Summary of Themes
Planting Seeds explores inner change as a process of reassembly, reclaiming agency not through force, but through curiosity, softness, and self-respect. It reflects on the nature of emotional growth—not as something separate from life, but as something grown within it, organically, like a garden tended in quiet hours.
There is no moralising here. No performative pain. Just a sincere, skillfully rendered account of a woman learning to be her own witness, healer, and guide.
Conclusion
With its understated clarity and emotional honesty, “Planting Seeds” is another quietly resonant offering from a writer deeply attuned to the subtleties of human transformation. The poem reminds us that healing is not always grand or poetic—it’s often quiet, methodical, and deeply personal. And yet, in this telling, it is also beautiful.
This is the gift of the poet’s voice throughout the collection: the ability to communicate emotional truth without sentimentality, to find meaning in the everyday, and to offer insight that feels lived rather than imagined.
For readers who have navigated their own journeys through self-repair and reinvention, this poem will feel like a hand on the shoulder. Gentle. Reassuring. Familiar. And real.
In “First Kiss,” the author continues in the tradition of narrative poetry, delivering a subtle yet emotionally resonant scene of romantic transition, awkward timing, and the complexity of new beginnings. This poem reads like a memory retold in confidence—matter-of-fact in its delivery, yet laced with quiet intimacy, humour, and realism.
The story is clear and unadorned: a chance meeting on a rooftop, a flirtation that sparks conflict, and a relationship that ends to make way for another. But the poem’s strength lies not in grand gestures or romantic idealism—it lies in its refusal to romanticise. This isn’t a fantasy kiss beneath falling cherry blossoms; it’s a kiss at London Bridge station, amid train noise, glasses coming off, and awkward logistics. There’s something deeply human in that—something modern and emotionally raw.
The restrained tone invites the reader to sit in the space between the lines: the discomfort of endings, the giddiness of new connections, the unspoken vulnerabilities wrapped up in moments of physical closeness. The inclusion of small details—the misfit dinner orders, the Japanese word for egg, the rainy night, the bad mattress—elevates the piece beyond mere recollection. These fragments of lived experience become the heartbeat of the narrative, grounding the romance in tangible, awkward, beautiful reality.
Summary of Themes
At its heart, “First Kiss” is about emotional transition, vulnerability, and the imperfections that define human connection. The poem quietly reflects on how relationships begin—not in neat, curated moments, but in the messy overlap between endings and beginnings. The tension between desire and discomfort, between what is said and what is felt, drives the poem forward without needing to overstate its significance.
There’s also an underlying meditation on choice—the quiet agency of a woman navigating two realities, ending one, and stepping (however uncertainly) into another. The tenderness of that first kiss is counterbalanced by the cold, rainy night and the restless sleep that follows. The two truths coexist.
Conclusion
“First Kiss” is a beautifully understated piece that captures the emotional terrain of intimate moments without sentimentality. It speaks to the fragility of beginnings—the little cracks that let light in, even when everything else feels uncertain. With its naturalistic voice, honest detail, and restrained delivery, this poem invites readers to reflect on their own moments of emotional risk, and to remember that even the most imperfect kisses can mark the beginning of something quietly significant.
This poem beautifully meditates on the present moment as a precious gift and explores the tension between external chaos and internal stillness. The opening lines establish a joyful tone:
“This present moment of joy / Is a gift from the universe to me” which immediately grounds the poem in gratitude and presence.
The poem then contrasts this inner joy with the frantic pace of modern life:
“Spinning through the illusion / Of time and space / Caught up and along / Running with this human race / Faster all the time” The metaphor of Earth spinning and the “world record breaking neck speed” captures the overwhelming external rush.
A key turning point is the focus on inner experience:
“But what about the world inside? / Each and every one of us / When to find the time / For stillness and calm” This invitation to breathe and listen inwardly emphasizes the need to reconnect with “one’s inner-tuition” and the “mysterious continuous flow” of life.
The poem poetically describes the physical body as:
“A vehicle, a chassis, a body / An envelope for a soul / Evolving through contrast and expansion” The title “Envelope” is deeply symbolic here, linking the physical form to the spiritual essence.
There’s a lament for disconnection and separation, both internal and external:
“Resistance and sequestration / Between Self and Source / And each other / Separation within the individual / And between individuals” Highlighting how even families can lack unity or ceremony to honor life’s arrival.
Yet, the closing lines offer empowerment:
“We can and must create / Our own realities / The inner one / Is where it starts” The poem celebrates the creative potential emerging from the heart, reminding us that transformation begins within.
Conclusion
Envelope is a contemplative and hopeful poem that contrasts the chaos of external life with the peace available inside. Its spiritual and poetic language encourages mindful presence, self-connection, and the conscious co-creation of reality. It serves as a gentle yet firm call to honor the soul within the human form and to cultivate inner peace amidst external turmoil.
Review of Land of the Dreamtime (Sunday 12th / Monday 13th November 2000)
This poem beautifully captures the liminal space between night and day, earth and sky, past and future—a transformative moment experienced while flying high above the world. The opening line immediately places the reader in a timeless and almost magical moment of transition:
“Sunday, or is it Monday? A magical alchemical moment At 36,500 feet” The ambiguity of time here mirrors the fluidity of consciousness during a flight, a space where earthly concerns momentarily dissolve.
The poem evokes a strong sensory and emotional connection to Australia, described as a place of spiritual awakening and homecoming:
“As soon as we approached the tip of Australia Somehow I knew, without knowing Except that I felt it She welcomed me With a silent electric storm” The personification of Australia as a welcoming, almost sentient entity sets the tone of reverence and intimacy. The “silent electric storm” is a striking image—a paradox of power and calm, mystery and illumination.
Vivid visual imagery draws the reader into the aerial view:
“A most spectacular aerial view Looking down upon the flashes and flares Lighting the clouds below from inside Illuminating their contours and form As if they were hollow” This is a moment of awe and wonder, a celestial perspective that expands beyond the physical journey into the metaphysical. The clouds “illuminated from inside” evoke a sense of inner light and spiritual illumination.
The transition to daylight acts as a metaphor for renewed hope and possibility:
“At last, daylight! Glowing subtly over the edges of the Earth Mesmerised by the unfolding scene” The “edges of the Earth” phrase evokes the feeling of entering a new phase or realm, a fresh beginning.
The poem then reflects on Australia as a “magical process of creative visualisation / And dreaming,” emphasizing the power of intention and hope in shaping reality. The poet identifies as a dreamer, finding resonance in the “Land of the Dreamtime,” a term rich with Indigenous Australian cultural significance that evokes ancient spiritual stories and connection to the land.
The symbolic journey “Following the yellow brick road / To the Sagittarius heartlands” blends personal mythology with archetypal imagery, suggesting a quest for wholeness, purpose, and connection with the sacred feminine:
“In search of wholeness and connection With the Great Mother, Nature With the land, the ocean, the sky The untamed presence of big country” Here, the natural world becomes both the destination and the guide, embodying a spiritual path and inner calling.
Conclusion
Land of the Dreamtime is a luminous meditation on journeying—physical, emotional, and spiritual. It blends the wonder of travel with a deep yearning for belonging and connection to the land and to self. The poet’s use of vivid natural imagery and mythic symbolism creates a rich tapestry of feeling, inviting readers to contemplate their own inner callings and the magic of returning home, in whatever form that may take.
In The Future Is Now, the poet returns to one of their central philosophical preoccupations: the nature of time and the transformative power of presence. This short but resonant piece functions as a contemplative meditation on the eternal “now,” blending metaphysical insight with poetic rhythm to distill a complex spiritual truth into accessible, mantra-like language.
The opening line, “Now is the future,” subverts linear conceptions of time, setting the stage for a poem that collapses past, present, and future into a single point of awareness. This inversion immediately challenges the reader to reorient their thinking, suggesting that the “future” is not an event to be awaited but a condition that is actively shaped in the present moment. The poet’s circular phrasing—“and all our future nows / Ever again to be”—reinforces the idea of continuity rather than chronology. It is an affirmation of the infinite unfolding of time within the present.
At the heart of the poem lies the imperative to be “fully present / In the magnificence of this moment.” The language here is devotional, even celebratory. The word “magnificence” elevates the present from mundane experience to sacred encounter. This is not mindfulness as a technique, but as a form of spiritual embodiment—“Presenting ourselves in the here and now” implies both vulnerability and intention: showing up, consciously and completely, to life.
The middle of the poem deepens the philosophical dimension, introducing the concept of karmic causality: “Time reaps the harvest of our karmic destinies / Sewn from the seeds of integrity and truth.” This agrarian metaphor situates ethical action in a spiritual ecosystem, where the quality of one’s present choices directly influences the texture of one’s future. The use of “sewn” (rather than “sown”) may be a typographical anomaly, but even if unintentional, it lends an interesting layer—suggesting that the threads of destiny are stitched together as much as planted. Whether deliberate or not, it works in reinforcing the interconnectedness of action, time, and outcome.
The repeated motif of “the present moment” as a fertile ground—“pastures of this present”—recalls earlier poems where Earth and growth serve as metaphors for spiritual development. Here, the present is both a field and a fulcrum: the place where time bends, and potential crystallises into reality.
Stylistically, the poem is cyclical and rhythmic, echoing its own thematic focus. The repetition of key phrases—“future nows,” “this moment,” “now”—functions almost like a chant, guiding the reader into the very state the poem describes. The lack of traditional punctuation allows for a fluid, unbroken flow of thought, reinforcing the idea of temporal continuity.
While succinct, the poem carries a meditative weight. It offers not a narrative or argument, but a distilled truth—an experiential insight into the nature of time and consciousness. The phrase “moment of continuous now, is the new now” acts as both a philosophical statement and a poetic gesture toward eternity.
In conclusion, The Future Is Now is a concise yet profound articulation of presence as both a spiritual practice and a creative act. It gently dismantles the illusion of linear time, encouraging the reader to awaken to the power of the present as the only true site of agency, transformation, and becoming. As with much of the poet’s work, the message is simple, but the implications are far-reaching: the future is not something that happens to us, but something we shape—moment by moment—through the consciousness we bring to now.
Change The World is a direct and impassioned call to action, in which the poet strips away artifice and ambiguity to issue a clear moral and spiritual imperative: personal responsibility is the only viable path to collective change. The poem adopts a tone of urgency and frustration, yet ultimately channels this into a message of empowerment and spiritual alignment.
Unlike many of the poet’s more meditative or nature-based pieces, this poem opens with unambiguous force: “The only way the world is going to change / Is if you do something!” These first lines set the tone as declarative and urgent, functioning almost like spoken-word or protest poetry. The directness is purposeful—there is no time, nor need, for metaphor here. The poet is calling out passivity and the illusion of delegation: the dangerous comfort in assuming “someone else” will take action, when in truth, everyone is waiting on everyone else. The result is paralysis—“Nothing gets done.”
This section carries strong socio-political undertones, especially in the phrase “Wake up! The dream is over!” echoing the rhetoric of countercultural and activist traditions. The poet then turns their critique to consumerism and the hypnotic influence of modern marketing: “Advertising is an illusion!” This line functions as a sharp rupture in the poem, jolting the reader into awareness that much of modern life is constructed, and often deliberately misleading.
The reminder “You can’t eat money, or drink it, or breathe it” brings the critique into elemental terms, redirecting attention back to life’s essentials and, by implication, the natural world—common themes in the poet’s wider body of work. The stark practicality of this line reinforces the unsustainability of economic materialism and the absurdity of valuing symbolic wealth over tangible life-supporting systems.
From critique, the poem shifts into metaphysical terrain. The line “Remember what you’re here for” signals a turning point. It reframes activism not just as a civic duty, but as a spiritual calling. The movement from “Knowing” to “Being” echoes earlier works by the poet, suggesting an evolutionary process—an awakening from conceptual awareness to embodied action.
The final lines—“Awake! Aware! Alive! / Superconscious motive / Supported by conscious intent”—function almost as a mantra or affirmation. This closing invokes a state of higher consciousness, grounded not in abstract idealism but in deliberate, intentional action. The use of capitalised imperatives suggests a state of spiritual activation: not simply being awake in the world, but being awake for the world.
Stylistically, the poem is sharp, stripped-back, and intentionally confrontational. The lack of ornamentation mirrors the clarity of the poet’s message: there is no time to sugar-coat, nor need for elaborate metaphor when the stakes are so high. The language is plain, declarative, and action-oriented, reinforcing the urgency of personal responsibility.
In summary, Change The World is a bold and concise piece that distils the poet’s ecological and spiritual convictions into a powerful exhortation. It challenges complacency, critiques systemic illusions, and ultimately reaffirms the importance of conscious, individual agency. The poem insists that real change begins not in institutions or ideologies, but in the spiritual and moral will of each person—awake, aware, and aligned with purpose.
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