On examination, the map proves wrong. That land could never offer beyond colours perplexingly arrayed. It presented flow but also stricture. It meant deeds and dying, in colloquy with estrangement. Thru the years and asseverations, the horizon only anticipated another day. No river could keep up with the weight of such hope.Those days became these days, a rumble from the ocean to enforce stratified polis overarching the usual strictures called life as we know it. The map shows boundaries of water and sand, direct gasping at potentials, and a language full of shiny red fruit. The imaginations grow succulent while Rimbaud himself discusses images of mazy life. Excess receives documentation. The superfund dilates with express exchange: Countries go to war for crap, minarets look like smokestacks, charity receives bad cess, a royal splatter covers all. These noble castle walls smell like direct payment. The perceived flames have no heft at all.
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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