Steve McCaffery

After the gossip one returns to grammar. Almost to say that speech compares us renting that   as a fact the case stands firm for what we own. Pragma by relations instance this as the index of my slab.  Your slap at it. The clouds pastiche aubade Sid’s bakery delivers                                symmetry inside an adult formula for Saturdays. Our poppies in history.

two divisions. one) knowing. nothing. into. understand. two) something. touched. someone. 1)     sequences outside of the categories labelled ‘telephones’ e.g. the milk arrived. 2)    the things all found a personal vocabulary. every word insulted everyone without looking. 1)    knowing nothing into understand.   and this almost said solemnly was the one that least occurred to me. ii) i sent my heart in the upper pocked or perhaps we made the bed in two seconds after we eliminated the third floor. and nothing else to risk but to hear her drinking.   1) something solemn touched something in the upper pocket. 2) knowing something touched nothing without drinking.  1) (i love onions 2) i told her so one. in one second 2. in two seconds flat the things that change conceal a system of ideas for instance the trains went by to come back on a roll of film they were both standing in the courtyard when i came she was 2)    sitting on the steps in a mans handwriting shutting my eyes to what remains to be said. 1)    an immense silence which had nothing to do with silence. 2)    for a long spell a spell of weeping begins to come.

But it is not our wish to reproduce ourselves through you the reader, nor to reassure you that these words are true or where the line breaks           there is a meaning stabilized           by that news speech is                        assuring you our plans are still the same as when we met original in formal theory by the fridge on the streetcar beneath some baggage of your satisfactions. Over this our patience supports you beneath the topical tuck which is basic to a sand ruse for writing through these intervals between our disagreeable achievements signed in the triplicate stage of the plainer style moved on (not much of it)             to where the shade from the ilex soaks the officer in charge by the octagon in august more or less.

A bridge is a passage between two banks. On Saturdays both banks are closed. A well is located in a wall of sound. But space is not the stake and suddenly both travellers fall in. Now draw a line between some water and their eyes. Express it as the border of a reservoir. The term ears stands ready to attack. Attach it then repeat the phrase my body lives inside a closed shed. The nose with this noise invents a scale. The cottage is attempts and tries to break at random or at noon a forest hidden by a single tree. Narrative dilates sporadic or clairvoyant in a place where bed becomes the meaning of the rest. Now say embrace me. Motors trivialize. Eighty-six windows show the noun to be a house. The heart is now a hole in space that falls across and leaves a certain number. Forget the thirds in this and the silhouettes change place. You can no longer have a choice. You start at zero by the church called word in the forest by a beach beyond the sea between a fingernail at the moment logic begins. Basic liquids add a soup. Now change it. Write down I can no longer state a model is at work. Then make filters for each body. Draw all the composition off. Forbid readers to leave. This sea as a mixture and the sand relating questions to the horizontal movements of a prebiotic plan. You are now discovering that concrete form involves both circulation and the clinamen. Start to weave and you’ll connect this space. Now try to say the eye is paradoxical so that all future lines repeat a plate. Nothing is narrative. Now alter it. The equator drops and float upstream. A pluralist sidewalk remains. Go back to the start. The Saturdays stay close to a catastrophic separation. The bridge is now a son who kills the father at a crossroad. In the well of the week drops the son’s name. Add wings to it. Now set out all the other links to constitute a set of probable ideas. The crevice of the lip connects a writing that’s as still as ink. This final switch is exactly what’s happening. The constant factor in a cloud.