The dewy point of the Web composed mostly of space and potential to which, in a Fit of Anthropocentric Preoccupation, we might attribute, as if ‘he’ were the ‘author’ of anything, amateur Works for the Page, Stage, Gallery, and Screen—in name: THE CORRECT FURY OF YOUR WHY IS A MOUNTAIN (Gordon Hill Press, 2021); UNFORGETTING: A PLAY IN PROGRESS [(Unproduced), 2021]; SIX FEET | BETWEEN US (featuring the Work of Derek Boswell; Gordon Hill Press, McIntosh Gallery, 2022); IN MEDIAS RES (featuring the Work of Derek Boswell; Gordon Hill Press, Westland Gallery, 2023); and MO(U)VEMENTS. (featuring the Work of the Sixty; Astoria Pictures, Rose Garden Press, 2023)—the administrator of the estates of Kevin Andrew Heslop (b. 1992), a pantheistic animist of lay-Buddhist practice born Canadian to Celtic and Viking ancestry trained first as a drummer and visual artist and then as a poet, actor, and filmmaker and currently practicing abroad—since 2023 in Serbia, Finland, France, Brazil, Denmark, and Japan—as he writes his debut feature film while writer-in-residence with Teatro Oficina—is a transient, crop-rotating vocation through which the chapbooks THE RULES OF GRAMMAR WILL NOT SAVE YOU AT THE HOUR OF YOUR DEATH (with Roxanna Bennett, Baseline Press, 2024); HUMAN VOICES WAKE US (with Taylor Marie Graham & Publius Fraxineus Tego, Rose Garden Press, 2024); CAN/ADIAN RE/PAIR STORIES (with Alissa Centivany & Derek Boswell, Canadian Repair Convention, 2024); EVEN IF THE LIGHT ON THE HORIZON IS A FOREST FIRE I LOVE A PHOENIX (Shab-e She’r, 2024); and WE ARE VERB(S) lately found cause to spring, and from which the books THE WRITING ON THE WIND’S WALL: DIALOGUES ABOUT ‘MEDICAL ASSISTANCE IN DYING’ (The Porcupine’s Quill, 2025) and an as-yet-untitled compendium of Dialogues previously appearing imbrued with editorial oversight courtesy of such Reputable Literary Outlets as Amphora, Centred Magazine, The Devil’s Artisan, The Miramichi Reader, Parrot Art, and The /tƐmz/ Review (Guernica Editions, 2027 & 2028), alongside a fervid array of Works, composed mostly of space and potential, for the Page, Stage, Screen, and Gallery, are, as if, in temporary occlusion of the present moment, the future existed, forthcoming (as are New Poems courtesy of The Fiddlehead, a journal of Discerning Sensibility whose namesake conjures at once and in fecund relief within the mind of the administrator of the estates of Kevin Andrew Heslop (b. 1992) both the Image of one’s own Tidy Umbilicus and one’s monomaniacal preoccupation Therewith, hereby Lengthily Demarcated and Resolved).