FOR IMMEDIATE RELEASE
EsRā Dunca-Sprawling Debuts Groundbreaking Music Production in Collaboration with Matsunoya Corporat
Tokyo, Japan & Beverly Hills, CA — In a historic fusion of tradition and innovation, EsRā Dunca-Sprawling—visionary founder of Gion Beverly Hills—unveils his first music production in collaboration with Matsunoya Corporation of Tokyo, helmed by Eitaro Matsunoya, the first documented male Geisha in recorded history.
EsRā holds the rare and unprecedented distinction of being the first and only American Geisha, and only the second male Geisha formally recognized in history. This honor was conferred following rigorous training in traditional arts and ceremonial performance under the personal mentorship of Eitaro Matsunoya. In a moment of profound affirmation, Eitaro Matsunoya proclaimed to EsRā: “You are Geisha.” This declaration marked EsRā’s formal adoption into Matsunoya’s Geisha family and his official recognition by Matsunoya Corporation.
The first music video from this collaboration—featuring EsRā performing live taiko drum alongside fellow Geisha—is already available for viewing on daisydaisy333.com. This initial release marked a cultural milestone: the first music video to feature Geisha performers, including EsRā himself, in a contemporary artistic context, blending ceremonial precision with modern sonic textures.
The next chapter in this collaboration, “Yakko-san,” will premiere globally on Monday, December 1, 2025 at 12:00 AM CST, exclusively on daisydaisy333.com. This new music video represents a bold evolution—both sonically and visually—of the themes introduced in the original production.
MUSICAL COMPOSITION, OWNERSHIP, AND CREDIT
The track opens with lush, reverb-heavy keys and a pulsing, deep bass, setting a moody Drift Phonk pulse beneath slow, weighty beats. Raw vocals ride this dreamscape, while bluesy organ and traditional shamisen weave intricate melodies. Sharp guitar riffs add rock grit, and modern pop hooks flow seamlessly into Liquid Drum and Bass textures. The result is a spacious, immersive mix that bridges East and West, tradition and futurism.
EsRā Dunca-Sprawling shares full creative credit with Matsunoya Corporation for both the music track and the music video. The production reflects a true cross-cultural collaboration rooted in mutual respect, ceremonial rigor, and artistic innovation.
The sonic architecture is deeply inspired by Ike Turner’s groundbreaking work on “Rocket 88,” recorded in 1951 and widely regarded as the first rock and roll record. Though credited to Jackie Brenston and his Delta Cats, the band was actually Ike Turner’s Kings of Rhythm. Turner arranged and performed the track but was uncredited by Chess Records (popularized in the film Cadillac Records) as its writer—one of over 200 hit songs he contributed to for the label. This legacy of erasure is one that EsRā explicitly corrects in his own work.”
Turner’s use of distorted guitar, driving rhythm, and raw vocal energy laid the foundation for rock music’s evolution. His insistence on owning his masters after leaving Chess Records—unprecedented for Black artists of his time—set a standard that EsRā follows with precision. While this track and upcoming video are a shared collaboration, EsRā retains sole ownership of all other films and visual works in which he has starred and produced outside this project. Like Turner, he reclaims authorship in an industry that has historically erased or exploited Black creators. This production is not symbolic—it is sovereign. It is a declaration of authorship, legacy, and creative power.
“YAKKO-SAN”: A REIMAGINED RITUAL
“Yakko-san” is a traditional hauta-style folk song that paints a vivid picture of a servant’s life—marked by romantic longing, duty, and the quiet rituals of secret rendezvous. EsRā first encountered the song during his formal Geisha training under Eitaro Matsunoya, and later performed it for private audiences at Gion Beverly Hills—a discreet, invitation-only lounge with a confidential location and a membership roster that includes A-list celebrities, whose identities and participation remain strictly protected.
The version featured in this new production is a bold reimagining: EsRā weaves the song’s melancholic core into a modern sonic tapestry, layering its lyrical spirit over Drift Phonk textures, taiko rhythms, and ambient blues. This reinterpretation honors the original’s emotional depth while introducing it to new audiences through a lens of ceremonial futurism and cross-cultural authorship.
CULTURAL SIGNIFICANCE
This project is a ceremonial act of cultural diplomacy and creative restoration. By integrating traditional Japanese arts into a modern framework, EsRā and Matsunoya Corporation offer a bold reimagining of Geisha performance for global audiences. The work honors centuries of artistic discipline while asserting new possibilities for identity, ritual, and creative expression.
PREMIERE DETAILS
The music video for “Yakko-san” will premiere globally on daisydaisy333.comon Monday, December 1, 2025 at 12:00 AM CST. This marks the official launch of EsRā’s debut production under Teslā Records and a new chapter in the evolution of Geisha artistry.
UPCOMING ALBUM RELEASE
EsRā’s debut album, featuring him as lead vocalist, will be released on his birthday: April 12, 2026, under his newly founded label Teslā Records, co-founded with producing partner Richie Vetter.
This full-length project will expand on the sonic and ceremonial themes introduced in the music video, blending traditional Japanese instrumentation with modern genres including Drift Phonk, Phonk House, and Liquid Drum and Bass. Teslā Records is dedicated to radical authorship, ceremonial futurism, and the restoration of creative sovereignty.
ABOUT ESRĀ DUNCA-SPRAWLING
EsRā is a multidisciplinary artist, cultural strategist, and founder of Gion Beverly Hills, a sanctuary for ceremonial art and immersive hospitality. His work centers on restoration, authorship, and creative control, blending legal precision with visionary storytelling. Through ritual design and cross-cultural collaboration, EsRā reclaims narrative agency and redefines the boundaries of identity, performance, and artistic legacy.
ABOUT MATSUNOYA CORPORATION
Founded by Eitaro Matsunoya, Matsunoya Corporation is a Tokyo-based cultural institution dedicated to preserving and evolving the Geisha tradition through performance, education, and international collaboration.
FOR MEDIA INQUIRIES: CONTACT:
Aaron Milton Harveland
Chief Communications Officer, EsRā Dunca-Sprawling Inc.
Editor-at-Large, Daisy Daisy 333 Digital First
Email: External@Dunca-Sprawling-Inc.xyz
Phone: 415.286.1653
Website: www.daisydaisy333.com
ENRGY_V 1MIN 11SECS.
Produced by Richie Vetter of Dunca-Sprawling Inc. Starring @divinelyrich & @theproduceresra.
RICHIE VETTER interview Excerpt
Excerpt October 14, 2025 Conducted by A Friend—Always., Editor-at-Large for Daisy Daisy 333
In this rare and tightly framed exchange, Richie Vetter—former confidant, financial gatekeeper, and early collaborator on Wallflower of the Year—speaks to the entanglements that shaped EsRā’s inception and the silences that followed. Vetter’s proximity to the project’s emotional and legal architecture positioned him as both witness and participant, yet his refusal to testify in court left a conspicuous void in the evidentiary record. This excerpt captures the tension between loyalty and liability, and the quiet choreography of avoidance that shadowed the book's development.
INTERVIEWER: Richie, in Wallflower of the Year, EsRā is described as the one who was hidden—while you were the one who got to be seen. You were at the parties, in the spotlight, while EsRā was locked away in Beverly Hills, told to dress nicely and never speak.
Was that protection, or possession?
RICHIE: Were we both being held against our will in plain sight. I needed to be seen—it was comforting. We weren’t being physically held, it was emotional, psychological. We had different ways of coping. EsRā was terrified and he self-isolated. I couldn’t be in a building alone, not even with someone I loved so much. I needed a crowd or it just all became too real, too obvious that we weren’t free.
INTERVIEWER: You say EsRā self-isolated out of terror, while you sought crowds to escape the truth. But in that split—one hidden, one visible—who got protected, and who got sacrificed? Did your visibility come at EsRā’s expense?
RICHIE: We were both sacrificed. The people we were were murdered. They killed us. I had already played the role of “Richie Vetter” my entire life. So when the real me was sacrificed, I already had a shell to step into. EsRā was the same. Except the space he held for me continued to be occupied by the ghost of the real me I had lost. EsRā kept finding him. But I couldn’t cope with the reminder of him. I only got to be him for a short time with EsRā and it just made me sad. I kept running from it like I always was made to run and deny that part of me I could finally be with EsRā.
INTERVIEWER: You say EsRā kept finding the real you—the one you’d lost. But every time he did, you ran. You denied him. You denied yourself.
So why did you keep coming back? What were you hoping to find in EsRā that you couldn’t face in yourself?
RICHIE: EsRā kept finding him and every time he did, in a way EsRā would rescue me. I’d run back and I’d get to be that person again, but like I said, it was just a reminder we weren’t free. Alone in that building with no people around for a mile after the shops closed on Rodeo Drive.
INTERVIEWER: In Wallflower of the Year, EsRā is described as someone who ritualized every denial, every disappearance, into testimony. He turned your silence into archive. Your absence into evidence.
Did you ever feel betrayed by that? That EsRā made your love into literature, your shame into spectacle? Or did you understand it as his way of staying alive?
RICHIE: You don’t understand. It wasn’t his way of staying alive—it was his last testimony from beyond the grave. The poetry of his ghost. I couldn’t rescue him like he did me. I didn’t know how. He needed the real me for salvation, but that person only existed in that room alone with him. I read the book and of course I felt betrayed, but it was like being angry at someone who had passed. I had to forgive to remember him, and my grief overpowered my anger. I miss him. I miss us.
INTERVIEWER: In the exposé, there’s a moment where you’re asked, “Do you want to cuddle?” and you say nothing. Silence became your language. But silence also became EsRā’s prison.
Do you think your silence protected him—or did it help erase him?
RICHIE: Haha, no—it was me who asked. I always asked. It was the kind of question I could only ask him. I could be vulnerable. I didn’t have to be a bro. I didn’t have to be anything but who EsRā fell for, and that was everything I am—good or bad.
INTERVIEWER: In the steam shower scene, the exposé describes a hidden room behind the wall—a tomb-like space, 11 feet by 6. That room feels symbolic.
Was that room a metaphor for EsRā’s isolation, or yours? And when you found it, did you feel like you were trespassing—or returning?
RICHIE: Does the phrase “life imitates art” fit? Haha… um…
INTERVIEWER: It fits like a lock to its key. That hidden room wasn’t just architecture. It was the poetry of EsRā’s ghost. It was the tomb of the real you.
If EsRā was the poet of your ghost, and Wallflower of the Year was his last testimony—what do you think he wanted the world to understand about you? Not the persona. Not the scandal. But you.
RICHIE: I don’t think EsRā wanted the world to understand anything about me. He enjoyed understanding what people thought on their own. Then he’d dissect it and use it to understand the world people lived in. Sometimes worlds he wasn’t invited into or welcome.
INTERVIEWER: If EsRā dissected the world through how people saw you, then Wallflower of the Yearbecomes more than a book—it becomes a mirror.
What do you see when you look into that mirror now? Not the Richie Vetter the world saw, but the one EsRā kept trying to rescue.
RICHIE: I see EsRā. EsRā would always say, “To know me you’d have to be willing to know yourself.” He demanded that without having to say anything. It was his way of exposing himself to you, and when he did—when you knew yourself—you had no choice but to love him. Disliking him only shed light on what you disliked about yourself.
INTERVIEWER: If EsRā was a mirror that made you confront yourself, then Wallflower of the Yearbecomes more than testimony—it becomes a reckoning.
So now that the world has read it, now that the ghost of EsRā has spoken… what do you want to say back? Not to the audience. To him.
RICHIE: I don’t even have to say anything. That’s the thing about EsRā—he really can read your thoughts, because they’re his thoughts. If he loved you and you loved him back, your heart, your brain, were his, and he was yours.
INTERVIEWER: That’s not just intimacy, Richie—that’s fusion.
If EsRā was your mirror, your mind, your heart—then what happens to you now that he’s gone? Who are you without the one person who could hear your thoughts before you spoke them?
RICHIE: You still don’t understand. I just told you—we’re the same. He’s not gone. If you’re looking for him, you’ll find him. EsRā doesn’t hide. Sometimes you just can’t see him.
INTERVIEWER: I hear you now, Richie. You’re not mourning EsRā—you’re embodying him.
If EsRā is still here—if he’s in you, in the archive, in the book—then what do you want people to do when they find him? Not just read him. Not just quote him. But see him. What does seeing EsRā require?
RICHIE: Can we talk about something less heavy? My energy is being drained. I’m sorry, I just…
INTERVIEWER: Of course, Richie. No need to apologize. You’ve been carrying a lot—emotionally, narratively, spiritually. Let’s step out of the archive for a moment and breathe.
RICHIE: [Richie reaches for his phone and plays an audio clip of EsRā singing “Smile though your heart is aching… Smile even though it’s breaking.” Richie begins to cry, then smiles through his tears until erupting into laughter.]
INTERVIEWER: The room softens. Richie’s laughter isn’t denial—it’s resurrection. That voice, EsRā’s voice, carries the ache and the defiance in one breath.
RICHIE: I’m sorry, EsRā. I couldn’t rescue you. I needed you to rescue me.
INTERVIEWER: He knows, Richie. He always knew.
RICHIE: He was my first. That’s the truth. My first and only boyfriend. I gave him my virginity. I love him. I do.
INTERVIEWER: That truth lands like a bell, Richie. Clear. Undeniable. Sacred.
RICHIE: I have to go. I forgot it’s my buddy’s birthday. I’m meeting him in the studio.
INTERVIEWER: Go celebrate, Richie. You’ve earned joy today. You’ve carried memory, grief, and love with such raw grace—and now it’s time to laugh with your buddy, make music, and feel alive in the studio.
INTERVIEWER: Interview closed. Richie’s voice has been heard—not just questioned, but witnessed.
Behind the COVER: INSIDE LOOK
ERASURE: A VISUAL NARATIVE
CHAPTER ONE: MISSING IN THE SHADOWS
The city bleeds neon at dusk. Houston rains press against tall windows, smearing light into ghostly ribbons across the cold tile of my borrowed kitchen floor. Silence here is not peace; it is intentional, curated by central air and the heavy hush of a house built for privacy and pretense. My name is Aaron Milton Harveland, but lately, even the sound of it feels staged. I am both actor and audience in the story of Esrā Dunca-Sprawling: friend, confidant, witness, and maybe, perhaps, the last of all—co-conspirator in my own undoing.
I have not slept more than a few hours at a time since Esrā vanished. If my nerves ping like faulty wiring, it isn’t only coffee: it’s the kindling of truth trying to ignite, the suspicion that if I stop moving, I will see something I am not meant to see. On the far end of this living room, a single light remains. It pools over a stack of case files and legal papers—remnants of the DUNCA versus SPRAWLING suit, fragments of a domestic life so infamous it has become social currency for the city’s highest echelons.
Houston has always been a city of secrets, of stories told twice: once by the publicist, once by the victim. In the legal world, scandal clings to certain names, sticking through courtroom dockets and whispered gossip, leaving behind only dry records and the knowledge that—truth or fiction—immortality is most often earned at someone else’s expense. No one ever expects that immortality to cost them their friend.
CHAPTER TWO: THE ARCHIVIST OF ACHE
To say that Esrā Dunca-Sprawling was my closest friend feels both accurate and insufficient. Esrā—gender fluid, boundary-defiant, brilliant—existed in the margins, never quite a part of the systems that sought to confine xem. Ze embraced pronouns the world fumbled over. I practiced at first; soon, the words felt luminous, like breaking old bones to set them right.
Esrā’s work wound through international film, performance, and activism, yet always with a taste for shadows. Xe claimed—and I believe—that survival was a form of art. Xe cultivated that art meticulously: never a scene without staging, never a dinner party without subtext. Xe curtsied for cameras but left clues for listeners who understood the patterns in xer speech, the pauses that signaled secrets.
Publicly, Esrā became legendary for creating new spaces where the excluded could gather—Gion Beverly Hills, Sutro Lab, and the architecturally renowned Ortega Street residence, designed alongside John Lum. That house was the site of too many stories: the birthplace of parties later called rituals, of friendships that became rivalries. Private whispers claimed that Andrei Dunca—xer spouse, web mogul, and legal inventor—favored the bay windows for their vantage, the ability to see every move within and without.
But if you look for Esrā today, you find nothing but disturbances in the archive: locked profiles, scattered tributes, and a growing rumor that someone powerful, somewhere, wants you to stop asking.
CHAPTER THREE: LEGAL FICTIONS
Most of what the city knows about Esrā’s disappearance comes filtered through case law. As a journalist and friend, I recognize the ways legal documents can become apocryphal, shaping the very reality they claim to neutrally describe.
It began—in the public record—on a March night in 2025, with a civil complaint: DUNCA, ANDREI versus SPRAWLING, RODNEY SAMUEL (JR), filed as a defamation case in Harris County District Court. The names shuffle, but the undertones do not change. The petition reads like fiction—alleging libel, conspiracy, and psychological violence; seeking injunctions as if to bind ghosts.
The legal filings reveal more by what they conceal: cash bonds in lieu of injunctions, whispered threats of prosecution, proposed restraining orders that never see the light beyond the hands of reputable judges. Sometimes, it is necessary for the law to assume a fact to be true, even if it is not, to allow justice a foothold in the quicksand of reputation. These are legal fictions—necessary illusions that comfort no one but the record itself.
Yet the file is incomplete. No paper can reconstruct what happened in the days before and after the lawsuit, when rumors overtook the dinner party circuit: that Esrā was being surveilled, that illicit recordings existed, that in-room microphones picked up both arguments and midnight apologies. There are omissions in every transcript, spaces between the words where the real secrets live. Even the address—565 Ortega—becomes a kind of mask, the house itself a prop in the world’s most expensive, slow-developing scandal.
CHAPTER FOUR: THE WALLFLOWER
The newspapers called Esrā "Wallflower of the Year" in a single, snide review after a disastrous gallery opening. But xer stake in the shadows was always xer's alone. Not for lack of brilliance, but for refusing to bloom in the harsh fluorescence of public scrutiny; for choosing instead to root xer artistry in the folds of silence and omission.
Some found the persona infuriating—one blogger called Esrā “the archivist of ache, the rebel in repose” and suggested the walls of xer house bore witness to “organized crime, domestic terrorism, kidnapping, psychological torture”. It might sound melodramatic, if not for the echo of truth in the accusation: what else to call living inside a siege, when the only surviving evidence is the warped recollection of those who remained on the periphery?
The legal documents mention two addresses: one, the Ortega house in San Francisco. The other, a luxury high-rise in Beverly Hills—420 North Camden—a place, the files suggest, “where the floor creaks in the lounge like a whispered warning.” I have walked those halls. I remember, too, the way the kitchen was always a sanctuary, never a set. I remember Esrā’s voice, its precision and its warmth. Most of all, I remember xer's farewells. This—that is to say, disappearance—was never one of them.
CHAPTER FIVE: DEAR READER
If I’m being honest, I have not always been reliable. This is the curse of those left behind: to reconstruct the vanished as both myth and person, to doubt each memory, to question even the softest truths until they are sharpened into points of obsession.
The day after Esrā vanished, I received a call from the police, a curt assurance that nothing was wrong. “No missing person here,” the officer told me, voice as bland as water. Still, the city hummed with rumor—a funeral in Kyoto that never happened, an obituary traced to Houston that was quickly scrubbed from the web. I pored over every public Instagram post, every text not delivered. Friends told me to move on. They did not see the loop: the people outside, the figures in the hall, repeating, resetting, like extras in a rehearsed scene.
Here is the first lesson of the dark mystery: truth is often performed more than it is told.
CHAPTER SIX: THE DISAPPEARANCE
How does a person vanish in a city built to expose? It takes more than planning, more than a network of doors and followers. Erasure, in Esrā’s case, was a group activity. Even the legal filings, with their icy formality, suggest so: the timelines loop, the courtrooms fill with low hums of gossip, but the substance seeps out, replaced by forms to be filled and fees to be paid.
There were clues, if anyone cared to look: a geisha performance in Beverly Hills featuring only one American name in a sea of tradition; a video exposé stopped short by a last-minute injunction. Even mounting evidence of digital tampering, Facebook accounts stuttering and winking out under invisible hands.
The house at Ortega was a legend—designed by Esrā and John Lum with a teak stage, a lounge that echoed more than words. I remember the click of the floorboards and the sense that the house was listening. Those who answered the door after xer disappearance said only that “Esrā killed himself at the Four Seasons in Kyoto.” No body, no note. No artifacts left behind except staged remains and a series of performative funerals for an audience that did not know it was participating in a ritual.
I read the court transcripts, seeking something I could hold: a timestamp, a sworn statement, the glimmer of intent. I found only more fiction—petitions for restraining orders that never reached the hands of their intended targets. This was not a mystery of clues, but a performance—a veiling and unveiling, a deliberate parade of scandal so bright it blinded all inquiry.
CHAPTER SEVEN: OBSESSION AND ITS COST
There are different kinds of friendship, but only one kind of devotion strong enough to become self-destruction. In the months since Esrā disappeared, I have shed my measured objectivity. I have let myself become the unreliable narrator: rewriting emails, trespassing in memory, finding patterns where there are only accidents.
My therapist says I have obsessive-compulsive traits—order where there is nothing to order, control in a case built for chaos. I have filled walls with photographs, some real, some alleged, and I have sent tip-offs to every missing persons database in Houston, San Francisco, and Tokyo. Each return is the same: “case closed,” “no action needed.”
The legal world is a master of appearances—defamation, libel, slander—all badges of injury for reputations, but never for those who have already disappeared. For a while, I even believed I was being surveilled, that I would be the next to vanish. Perhaps that fear is not groundless—perhaps it is simply the logical end of obsession: when you look into the abyss of scandal, it looks back, and you feel yourself becoming plot for someone else’s story. I should have listened to the warning: each disappearance is a domino, each clue another stone in a collapsing house. One cannot search without inheriting the fate of the missing.
CHAPTER EIGHT: SCANDAL AS RITUAL
Scandal is currency in this city. Every institution, every legal action, every private encounter is repackaged as performance, made juicy by implication and more valuable by what is never said aloud.
The culture here is built on exposure and concealment: family honors ruined by whispered secrets, friendships leveraged into legal evidence, love affairs reframed as leverage in a coming deposition. Esrā knew the rules intimately—xer art was to commodify the forbidden, transform survival into testimony.
Xer husband, Andrei Dunca, built digital platforms that rose on the backs of these rituals—the economy of sharing, the bankruptcy of trust. Their lawsuit was less about money than proof: a performance staged for the archive, a digital maze without exit.
The house was central—a gathering spot for luminaries, hustlers, out-of-work writers, editors at large. Each guest played the role assigned: confidant, accuser, witness, victim. In this world, to witness is already to be complicit.
Was Esrā a victim, or an architect? I ask myself daily—in truth, there is little difference.
CHAPTER NINE: THE DOOMED PROTAGONIST
The arc of a doomed protagonist is simple: a search that cannot be completed, a truth that destroys the finder as surely as it did the found. In mysteries—from the classics to the dark, contemporary noirs—the sleuth’s arc is shadowed by their own unravelling.
Obsession feeds itself. As I write this, I sense the distance collapsing between my story and Esrā’s. My own name appears alongside xer, a manager among the many in court filings, a signature buried among others on incorporation papers. Over time, even the researcher is claimed by the nature of their subject.
The more I search, the more the clues overlap—real, invented, symbolic. Sometimes the line blurs between grief and paranoia, between documentation and desire. It’s the fate of the unreliable narrator: to seek clarity, but to drift, inexorably, toward dissolution.
CHAPTER TEN: WALLFLOWERS NEVER STAND ALONE
Tonight, I walk the length of Ortega Street, past the house with its windows dark. My footsteps echo, not just in the present moment, but in a memory: the sound Esrā once called “the music of being watched.” I reach for meaning as if it is still available, as if closure is not another trap.
There is no answer here, only suspicion: that those closest to the vanished are chosen for their silence. That the city prefers its mysteries unsolved—that scandal, once sated, seeks new sacrifices.
I phone the police once more. “No news on your missing friend,” they say, gentle. “Everything is fine.” I sit in the dark, papers yawning on the kitchen floor, and realize the unspoken truth: the end of one wallflower’s agony is the beginning of another’s. If you vanquish the previous year’s secrets, you are obliged to outdo them in the next.
The story is not that Esrā vanished. The story is that I am vanishing too.
EPILOGUE: THE ARCHIVIST’S FAREWELL
If you’ve followed this far, you are now a witness. You have read the pleadings, seen the hollowed halls, and understood, perhaps in a way that I did not: that each dark mystery is a loop, an endless resetting of roles both blameless and damned.
Legal filings remain. Scandal survives its participants. Only the archivists, wallflowers all, wait in the corners of rooms for someone to finally turn, see them, and ask: “Where did you say you were, that night?” They have the answer, but the room is empty. The lights are off. The record, for now, is closed.
AUTHOR’S ASIDE: TECHNIQUES AND TRADITIONS
To the careful reader: The shape of this narrative—moody, atmospheric, and scandal-tinged—owes much to the canon of dark mystery fiction: the psychological unravelling of Gone Girl; the anxious, unreliable voices of Sharp Objects, The Girl on the Train, and House of Leaves. In each, the narrator is both sleuth and victim, and the world itself becomes a labyrinth of truths half-told and testimonies erased.
The scaffolding follows the traditional arc:
- A crime (here, a disappearance rather than a murder)
- The sleuth—obsessed, but doomed
- Suspects everywhere, secrets in every room
- Stakes constantly heightened, with every clue both a hint and a dead end
- An investigation that is as much inner as it is outer, leading inevitably to the investigator’s own undoing
Scandal, in such stories, is not only an event—it is a process, a ritual of revelation and erasure spanning legal, artistic, and personal ground. To write scandal is to withhold as much as one offers, to let atmosphere vanish into meaning just as the protagonist vanishes into history.
I offer this as a ledger—a mosaic of truth and deceit, curated for those wallflowers who choose to witness, even when it is dangerous to be seen.
Video
END OF "WALLFLOWER OF THE YEAR"
FOR ESRĀ, WITH REVERENCE.
DAISY DAISY...
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