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.
It begins with a scanning of light, a settlement of words. The lightly fracture of Bird sound begins in the office of seeing. Not sentiment but sense, as cool as Green in the Early days. Pasture resists nonpasture, no one Refers to none. All remains including nothing. Morning Is belief and there simply there. Tides go freshly to the point.
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