Creation limps to see the sea. It’s a lot of trouble. Verbs work, okay, and nouns mean something solid. Then adjective colours the spaces between and around solid. Adverbs declaim the speed, tho our presidential discoveries may not know this. I heard a preposition once, going towards, I think (a tree was involved). In Lowell, Massachusetts, literary punctuation mark, and historical byway, there were attempts at language. Mainly some factories, a river, and canals. We hear these instant things, furrows of effort, and Charles Ives looks at Aaron Copland. Less saturated is the sentence, when you carefully place the period at the end. The end must be indicated because ideas are formal institutions. Like slavery, and stuttering function of the griping class. Creation begins to see paragraphs, rewards of effort. Stanzas are paragraphs, make no mistake, just as the moon circles aimlessly while clouds obscure the facts. In Lowell, steeples fulfill the promise of skyline for a while. The tenor of some rot and buildings works into dismal demonstration of economic means severed by a few human beams. Their light wasn’t little more than. Under that bridge rushes important water over stony riverbed, with eager power developed from how that mass in motion translates into the firm belief in system. Electrify me, says Lowell, staunch for the bucket filled to a brim described by our betters. Someone plugs in the refrigerator and Budweiser fills the temporary home. Meanwhile, creation limps to the sea, like a plain book or a bowl of porridge set adrift with mentioning. This casting about, with words featured in every remark (almost), constitutes a property of which we are an element.
The work becomes chiding of sunlight. The work is elegy and shaded. The principle ciphers as a god, in the way transience is purpose. Transience works this brief, ending fields, making trees concern. The hell of halting midway identifies the work of burning thru. Forever makes a sign. Sign makes worthy. Indeed the tramp of feet forward concludes any sentences but suggests more. Long sentences, stupid words. The caroling heard by Dante, brilliantine remorse for a better tide. The long road up from down, and turned around. The work then becomes the work now, as stained glass similitude. Anxious in the class structure of catastrophe, the baying song over all. Nothing to do but be done. Ruskin gave you papers to remind you. Slow battering concedes the earth in time. Time being functional and oblique. The worker inside sees the nation by exhalation. Transitive connection sports of culture. The class that ends becomes the class that begins, both left and right.
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