Enormous rings around the moon.
ENORMOUS is a bell.
ADDRESS changes form.
Down in the elevated GARDENS
you.
AGREEMENT of symbology means he
gets to cut your hand five times (two).
Speak in a low voice from sunrise to
sunset. Factor in the object’s
objection. Subject address to
change. Fry with glue and dispose.
Shadow puppets on the moon.
Saturday, June 03, 2006
-
The history of a metaphor breaks down.
Morning, a leading up or running out
where the just-risen
(indistinguishable
from the worn-down)
forget the possibility of silence
(without preposition).
(without preposession)
“Am I too big?”
asks the box.
A metaphor rots.
History decays.
I can hear the helicopter in my teeth.
Post-production produces a post
then another
lining up to mark the limit
Morning, a leading up or running out
where the just-risen
(indistinguishable
from the worn-down)
forget the possibility of silence
(without preposition).
(without preposession)
“Am I too big?”
asks the box.
A metaphor rots.
History decays.
I can hear the helicopter in my teeth.
Post-production produces a post
then another
lining up to mark the limit
from "Opening Sentences III"
I.
Something like a curtain evoked fluttering
on a hill.
Therefore the, that, or this.
Every time it went up.
I wanted to see it again and again,
but for the set to change each time.
That was in I.
Phil verifiably, Aesop intentionally.
Clumsy. Gentle. No-one.
Respia, quick. Cora, late.
No catalog for the catalogued things.
II.
And?
No.
Something like a curtain evoked fluttering
on a hill.
Therefore the, that, or this.
Every time it went up.
I wanted to see it again and again,
but for the set to change each time.
That was in I.
Phil verifiably, Aesop intentionally.
Clumsy. Gentle. No-one.
Respia, quick. Cora, late.
No catalog for the catalogued things.
II.
And?
No.
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