Fun fact: radish became foodstuff after someone’s long bad spell of foraging. Found as a possible means of survival, mezzo mezzo, the radish tastes like creaking noises. Survival remains as a documented goal, so radish joined the supporting cast that includes slobby, gobby oysters and other interpretations. Radishes can be eaten without exploding in dark intestinal corners, at least theoretically, if you hold your nose. Radishes never seem beyond the means, which places them in some democratic light, like workers of the world. No la-de-dah radishes exist, that would thwart their Puritan function of joyful affliction. Radishes remain in the salad panoply with shining guilt, the nerve of festive injunction. You can pulverize them with your molars, accepting that radishes taste like radishes, just as poetry tastes like school. The balance of your acceptance of these conditions adjusts our keen Democracy with tiny twitches. Radishes seem like harsh contretemps but lo, how radish-like are you?
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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