editing allows foreshadowing.
it's bellowing obvious.
like women, omens, and wood and nails.
the able will feature.
the capsule of create, time dividing, sweat sweat, quickly.
edifice, orifice, interface, populous, puppy town, west end,
i'm like, tired, firing, old school, welp, and understand,
the sections of everything are portent and glib, the every b,
and only a, the destitute, institutional and breast obsessed,
believe and belong, bely and bore, the cremated, the buried,
those reduced behind editions of pulpit and mail forwarding,
filters, and moderated frequencies of information control.
the editing allows foreshadowing of a career,
it's dime-sized cleansing material is overt
and provides body to our canon, the chosen,
the elited, the avant, guarded, and sacred,
shallow overt and ecstatic, for they are
part of the read, the texas rangers enforcing,
love and respect, the commas placed in all
the correct places, the yearning for tides
and metaphor, the homonyms of simile, caving
and creating, the earnest and steadfast,
accepted and time-honored, support will
bring satisfaction to the winners, history
goes to the victorious, and pulitzers will
come to the graceless.
and chapel is supplied to the rest of us.
cursing life and god and success,
without reason, when it was fault of no one,
singular effort, singular holiday regime, a
collective situation involving friends who
publish friends for friends.
resource pools of ownership and copyright,
the claim that invention rewards to infinity,
that idea is the product of a unique individual,
the greed, the proposterousness, ants collect
themselves in magical ways despite words, scents
perhaps, and we too do the same, the 7-11 commercials,
the gravity, the dicken's parodies, the ornate
approaches all contributed to the creation of
the BASIC interpreter. and
like women, omens, and wood and nails.
we'll repress until correct. until popular,
until the ownership gains high stock value,
and the words grant greatness and wealth and power,
and women, omens, and wood and nails.
|
|
|
|
|
|
|
|
|
|