There are faces within our fables—forever cloaked by a childlike desire to replicate. Major events. A chord
progression. A romantic phrase, specific to the smooth Venetian language—her five main variants, conspiring
to capture: your subtlest heartbreak / my unlikeliest closure—a dialectic loop whose every turn is said
to shed its own theory on the makings of a star; but if you’ve heard one, you’ve been seduced by them all…
After dusk (after dusk) are echoes—of an age, wherein each step taken invoked an embellished sense
of terror, while wonder was reserved for watching: a hidden network of rivers / turn red at the skin. See,
“the singed edges of the continent I parallel most” is the closest we’ve come to describing our loss
and consequential lack of internal conflict, of a Supernatural Commentator to say the magic words (to enter
An abandoned story) go like this. And thus, on special occasions a mine may grant that it is less self
sustaining than working through the land: a maxim which lends tension to the image of a sky
set to repeat behind improvised fire—a scene made to keep “the paying pyros” aroused
long after the chemicals have settled. We’ve developed a system that should amplify only those states
The Sun cannot disturb. The ebb and potential flow in your cerebral cortex—reminiscence—has no basis.
Decorative efforts, once indicative of taste (the phantom percussion of cartridges / limbs)
stand on nothing / but remittent beliefs (say black genealogy.) Evidence supports the existence of which
blinds, via a seamless series of suffering noise—have led us to dream that a drawstring just waits
To be found (point to your fatherland’s latitude, and now say longevity)—a simple convention rattling
like a cheap guitar against our globe’s tectonic walls—and the minds that inhabit it—are pulled
under an assumption not unique to musicians: the world will stop the glass will shatter the moment
I open my mouth. Or from the windows of babes: be careful how long you wish for (lest the light spill out—)
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