ABOUT THE POEM: Ronie iz BaD was written in 2005, during Ronie’s college years, at a canteen beside a basketball court. The setting is not symbolic or imagined-it is literal. The wet court, the yellow light striking the floor, the presence of night, and the fear of cops are direct observations of the environment in which the poem was written. Ronie was seated there, physically present, writing from within the moment rather than recollecting it later. The emotional background of the piece reaches back to 2004, when the woman he loved left him. That separation marked the beginning of a prolonged period of psychological instability, isolation, and inner conflict. On 13 August 2005, Ronie slit his wrists. Ronie iz BaD belongs to that period-not as a retrospective explanation, but as a contemporaneous record of a mind under pressure, attempting to remain conscious, embodied, and alive. This text was written by Ronie, about Ronie, while being Ronie in the most literal sense. There is no narrator’s distance. The repeated lines-“Don’t complain about Ronie / Because this boy can’t change”-function as self-address, a loop of language used to anchor identity when it feels at risk of dissolving. The poem does not ask for forgiveness, admiration, or rescue. It records sensation, fear, confusion, and presence. The basketball court and canteen matter because they locate Ronie in a shared public space while he is experiencing something profoundly private. Everyone else is home. He is not. That contrast forms the emotional spine of the poem. The world continues normally while he feels jammed in a hole, unable to move forward, unable to return. The language is raw because it was not crafted for publication. It was written to survive the night. The piece should be read as an origin document within Ronie’s body of work. It establishes recurring themes that appear later: walking through darkness without mythologizing it, refusing to aestheticize pain, and insisting on honesty even when it is uncomfortable. The poem does not resolve itself. It ends where Ronie is still standing, still breathing, still present. What gives Ronie iz BaD its authority is not literary polish but temporal truth. It exists because Ronie existed long enough to write it. It is not a performance of despair; it is a record of endurance. The value of the piece lies precisely in its specificity: the year, the place, the body, the name. Ronie was there. Ronie wrote it. Ronie survived it.