ABOUT THE POEM: This is Ronie Dinosaur’s autopsy of his own romantic extinction. Once a shy, almost monk-like boy who fled girls out of reverence, treating his over-affectionate female friends like untouchable Madonnas, he now he has become the inverse: a desperate customer chasing paid flesh through neon gutters, only to be rejected even by whores. The reversal is so perfect it feels like a curse cast by those very saints he once protected. Fate, once discreet, now laughs openly in his face. The more infamous he becomes for his defiance, the more shameless the humiliation. He coins the “Ronie-Randa Complex”: the pure ones he once worshipped have morphed, in his scorched psyche, into the rands who charge him to crawl. Worse, he pays. The customer, he realises, is the true male whore—begging, humiliated, disposable. He was too virtuous for the good girls. Now he is too broken for the bad ones. Ronie Dinosaur no longer believes in karma, only in the lie that numbs tonight’s wound. The poem is that lie, spoken aloud so the heart can sleep another hour before the next rejection texts arrive.
I used to bolt from girls.
Maybe shy.
Maybe I worshipped my over-affectionate friends
too hard to ever touch them-
Madonnas I myself enthroned.
Now their curse has fangs:
I chase whores through neon sewers,
and even they flick me off
like cigarette ash.
When I finally grew a little infamous,
you, Fate,
turned outright shameless.
So Ronie Dinosaur drags through the nights-
no belief in karmic irony,
only a lie that numbs the heart
well enough for tonight.
They call it the Madonna–Whore Complex.
I call it the Ronie–Randa Complex:
the saintly ones I once fled
have become the very rands
who now charge me to crawl-
and I pay,
because the customer
is the real male whore.
I was too good for the good girls.
Now I’m not good enough
for even the bad ones.