industry.
I perform a valuable service
(I lose)
and I work from home.
Am I not then entitled to drink six beers
and watch some losing gracefully performed?
The sorcerer’s apprentice is an animated mouse
losing control over water-toting brooms.
Now, what does that say about cleaning?
Sorcery cuts grease and glass like lightning!
Now, who will clean up this water?
What will we use to remove this water
from our jerseys? I suggest sorcery.
My Little League team is made up of animated mice
losing control of their jerseys
and delaying the game with lightning
in the manner of Fabius and Disney.
General Disney gets clothes clean (with sorcery).
General Disney’s Chicken (with sorcery sauce).
The novel hurled to the ground breaks into verse
and achieves a perfect synthesis
of Bible and phonebook,
a chance synthesis
recalling the work of X
in its use of cherry and adverb.
A branch of adverb negatively rendered
is characteristic of a period
in which phonebooks possess all the qualities of epics
plus or minus three.
X is of that generation that gloried in synthesis
privately performed,
in charity syntheses held for cherry trees.
I have chopped down the truth conditions for cherry trees
with a chance synthesis,
with a phonebook in one hand
and a Bible in the other
and the other.
Configured to return to the thrower when hurled
and configured to return the thrower to the herd,
intended backfires configure warmth
for the polis and polis fans.
Context attributed to the skin at birth
picks teams:
shirts and skins,
redshirts and redskins
and tomahawking redskin fans.
“In 1825, the natives of Port Jackson hurled their halos and lay down.”
Support your polis: chop the air.
The roof fell in
medias res.
We fled
into the trees.
But that part of
roof that was ceiling
that was glass,
we carry with us
here, he said,
touching his head
to his heart.
The roof fell in
in place and we
fled here
and here,
carrying our heads
in our hands,
holding our hands
to the light,
to that part of light
that was glass
and fell in
absentia.
II
ANGLE OF YAW
II
THE PREDICTABILITY OF THESE ROOMS is, in a word, exquisite. These rooms in a word. The moon is predictably exquisite, as is the view of the moon through the word. Nevertheless, we were hoping for less. Less space, less light. We were hoping to pay more, to be made to pay in public. We desire a flat, affected tone. A beware of dog on keep off grass. The glass ceiling is exquisite. Is it made of glass? No, glass.
THE BIRD’S-EYE VIEW abstracted from the bird. Cover me, says the soldier on the screen, I’m going in. We have the sense of being convinced, but of what? And by whom? The public is a hypothetical hole, a realm of pure disappearance, from which celestial matter explodes. I believe I can speak for everyone, begins the president, when I say famous last words.
ALL ACROSS AMERICA, from under- and aboveground, from burning buildings and deep wells, hijacked planes and collapsed mines, people are using their cell phones to call out, not for help or air or light, but for information.
IN THE EARLIEST FILMS, ACTORS PRETEND to accomplish prodigious acrobatic feats by rolling around on a black carpet while being filmed from above. The prophet who seems to ascend to heaven is being dragged across the floor. The first generation of moviegoers was unable to decipher the action on the screen, despite the explicador. The second generation mistook them for real grapes. In order to reproduce the colors of nature in our films, we have painted nature black and white. Startle the cuttlefish. Harvest the sepia. The literal color of fear.
ALL WE REMEMBER OF OUR CHILDHOOD is sliding down inclined chutes mounted by means of ladders, down slick chutes terminating in pools of water, across wet tarps laid atop the lawn, across hardwood floors in our socks, on short boards equipped with wheels, on roller skates, on ice skates, on ice, on gravel.
THE FIRST GAMING SYSTEM was the domesticated flame. Contemporary video games allow you to select the angle
