The night before I wrote this poem, I fell off a cliff.
Not metaphorically. Literally. Twenty feet down a rock ledge at a beachside restaurant in Palmarcito, El Salvador, because I wasn't paying enough attention. I escaped with a scrape on my left side, a bruised ego, and a realization I've been carrying ever since: I am not undamageable.
I've had that realization before. Fourteen times, give or take. The phenol tank I laid on before I knew a drop smaller than a dime could kill a person. The concrete-filled steel bollard that carved a clean path through my engine compartment and into the passenger seat while I wasn't wearing a seatbelt. The hurricane surf. The night swims at the 3rd break in double overhead swells. The places I've been that had no business letting me walk away.
I always walk away.
But I'm getting ahead of myself.
I came to Palmarcito on Feb 12th, 2026, on a one-way ticket. I had been running at full speed for years — 60, sometimes 90-hour weeks as a General Superintendent then Learning and Development Manager at a large electrical contracting firm, managing projects and programs for thousands of employees, building AI-powered systems, promising myself that the next project would be the one where someone actually followed through on what they said. They didn't. So I bought the ticket and left.
The casita costs $300 a month. It belongs to David, a 59-year-old retired infectious disease doctor who cooks too much food and forgets things and is possibly one of the best human beings I've ever met. The Pacific Ocean is 60 meters from the door.
I came to reset. I didn't know what that meant until I was already inside it.
What it turned out to mean: Advanced Open Water certification. A fire ceremony with village elders on St. Patrick's Day. An accidental songwriting residency at a pupuseria across the street. A SaaS product built from scratch in a casita. A drone crashed into a cactus for a two-year-old named Ariel who thinks I control all aircraft. A reconnection with the first woman I ever loved, seventeen years after a silence that was never supposed to be permanent.
Her name is Gina.
I sent her a message from a cliff at 11:11pm on March 7th. I hadn't spoken to her in seventeen years. She answered in two seconds.
What followed was twenty-some days of conversations that I'm still trying to fully understand. She is the woman I wrote about in this poem — the one at the threshold, half in shade, half gold, one hand against the door. She burned my letters once. Buried the ashes. She told me she was trying to forget me. It didn't work. I kept the letters she wrote me and the incense for seventeen years and never threw them away.
We are not the same people we were. We are also exactly the same people we were. Both things are true and I've stopped trying to resolve the paradox.
The night I fell off the cliff, I came home, cleaned up, and slept harder than I had in weeks. My side hurt. The adrenaline took a while to leave. At some point in the early hours of the morning, I had a dream so vivid and coherent that I woke up at 3am still inside it.
A shop. Dimly lit. Full of what I can only describe as shifting trinkets — every time I turned around, the inventory had rearranged itself into something new and perfect. I was there to buy something. I found it in the exact spot where I had just bought something else: an empty scroll. I knew immediately it was what I came for.
There was a woman working in the shop. Foreign. I didn't know her language and she didn't know mine, but I opened my mouth and what came out was German — Was braucht dein Garten? — which translates roughly to What does your garden need? I didn't plan to say it. I didn't know I knew German well enough to say it. I spent a brief period working at military installations in Ramstein and Wiesbaden and apparently the language went somewhere inside me where I couldn't find it until I was asleep and not trying.
She looked at me and said: You have an accent here.
I said: I have one everywhere I go.
Her brother — the shopkeeper, the man with the ledgers and the locks — intervened. He locked the door. Led me to the back room to complete the transaction. She stood at the threshold, blushing, one hand on the door between us.
I bought the scroll. I apologized for what I'd said. I didn't stop meaning it.
I woke up knowing I had to write the poem before I forgot any of it.
Here is what I know about myself that most people don't:
I am honestly afraid of the open ocean.
I have saltwater in my veins. I surf. I dive. I fish offshore. I swim at 10pm in the Pacific when the lifeguards have gone home and the third break is running fast and the sharks, if there are any, have apparently decided I am not worth the trouble. I have been held down by three consecutive waves in a hurricane swell named Gustav and it almost took the remainder of my life.
And I am honestly, genuinely afraid of it.
I've told two people that in my life. My ex-wife. And Gina.
I go in anyway. Not because I'm brave. Because the alternative is to walk away from the thing that feels most holy, and I've tried that, and I don't like how it feels. What I have is not fearlessness. It's reverence. Deep, bone-level respect for the thing that could take me, paired with an inability to stay on the shore.
That's also what the poem is about. That's also what Gina is about.
I have loved the thing that kept me most afraid.
I am not a professional poet. I'm an electrical director with fifteen years of experience building the nervous systems of industrial facilities and data centers. I have an Advanced Open Water certification and a sovereign AI workstation in Melbourne, Florida and an accidental residency at a pupuseria in El Salvador where they critique my Spanish while I consult on their construction project and their daughters blush for reasons I choose not to examine too closely.
I write songs. I wrote one on a chicken bus in El Salvador that a man named Geronimo danced to on the beach while I sang it at full volume into a borrowed microphone, and his response was that it reminded him of Alexander Acha. I don't know if that's true but I will take it.
I don't write poems. Except I did, once, on Day 43 of the most alive I have ever been, because a lucid dream handed me the imagery and the only honest response was to get it down before the ordinary morning came and took it.
What the poem is actually about:
It is about being a person who has never belonged cleanly to any place. Who carries an accent everywhere — not just in language, but in spirit. Who is always recognizably from somewhere else, even when that somewhere else is nowhere specific. Who has worn distance like a second nature for so long that the wearing became invisible.
It is about buying an empty scroll — trading the past for a blank page — and discovering it was never blank. It already held the shape of what was coming.
It is about a woman who stood at a threshold seventeen years ago while a father/brother figure locked the door. And who is standing at a threshold again now, and this time the transaction completes differently.
It is about the daily question I ask her now. Not a ring. Not a knee. Not a promise made once and expected to hold forever under its own accumulated weight. Just the same question, every single morning, which she can answer however she chooses. She has said yes every day since I started asking.
It is about November. Which is when we first knew each other, a long time ago, before the seventeen years of silence. Seeds buried in November don't know yet if they'll survive. They just wait in the dark until the rain comes.
The rain came on March 7th at 11:11pm. She answered in two seconds.
The scroll is still mostly blank. I have a job offer coming from the largest AI data center infrastructure project currently underway in the United States. I have three sons in Western New York who are going to need their father present and functional and not run into any more cliffs. I have a SaaS product that processes audio stems in 3.33 seconds on an RTX 5090 and takes real money from real musicians. I have a gift from an artist in El Tunco that I have not yet disclosed sitting in a little brown bag in this casita, waiting for her.
I have a poem that started as a lucid dream and ended as the most honest thing I've written since No Hay Quizas, which I wrote on a chicken bus on March 10th and which will soon be on Spotify if you want to look it up.
I have an accent everywhere I go.
I am no longer passing through.
The Accent of the Soul was written on Day 43 of The Palmarcito Reset, in Palmarcito, El Salvador, following a lucid dream on the night of March 25–26, 2026. The author does not recommend falling off cliffs as a prerequisite for creative work, but cannot entirely rule out the connection.
— Shane Thomas Strough
Palmarcito, El Salvador