symbols, some just say zodiac, with Gemini at my lowest ebb - ebb, funny word, unravelling nouns from the cauldron of onomatopoeias, say knock on wood precipitated into a privacy of owning a door - whereas the Irish and the Poles encoded dialogue (like in Ulysses) with hyphen for snappy convo; in a pub, Charlie and Harry spoke:
- pint's on me.
- aye, on you the one and no more.
- why not more on me?
- i won the lottery, i'm goonah buy half of Cork.
- so who's this Yorrick fella'h?
- apparently a resurrected maxim.
- travesty...
- indee- doodley oh.
which beckons the question why the un-imaginative encoding of sounds gave English narrators too much power... the supposed ditto / invert comma wasn't expression of approx., nuanced, why wasn't the interpretation that of nuance? we can all use the unit Sartre chose to nuance, instead of "ego" the ref. point of conduct ~ego, i.e. approximately me, living with my mother but nonetheless womanising... unimaginative narrator, speeding, never gave his characters a chance, "i went to the market today", he said; that's the narrator masquerading - call this a dubbing mechanism? i would... like i'd hope for the centimetres and miles and nanometres of pause differentiating a comma from a hyphen, a hyphen from a colon, a colon from a semi-colon... and a semi-colon from a fullstop (exampled a germanic word with missing hyphen not authorised by the Oxbridge dictionary of couture, disassembling a navy sweater and toad-green jeans)... i mean, **** me, give me the precision tactics to read without invoking an αsθmαtιc imitation of a sailor's last breath; are those dots above i and j really necessary? it just rained down y y y y y y y y y y on top of them, enzyme activity? yep, ιoτα; otherwise just inert *******; and no, it's not a language these days, English has been reduced to pixel graffiti.

well... mandrakes and sparrows
aren't exactly androgynous...
maybe a mascara advert went missing
along the way... maybe.
here the piano... here the broken
fingers of Liszt... you poker me,
it's worth the gamble...
well ontologically *sprechen what
the hell is a natural appropriation
of waiting for water to boil,
or an egg to be poached in shell
for a runny yoke? me neither,
i'm as dumb as a doughnut concerning
such affairs... i said there's no androgynous
behavioural patterns in sparrow and mandrakes,
you choose you adaptability whenever you
choose to stress a chequered flag...
parasitically i'll march with telescope
ants and flies of what alienation did
to the food-chain - yeah, aliens with an
enlargement syndrome -
bathtub of hydrochloric acid -
i just imagine the newly beloved painting
unseen, a squid cleaving fat and muscles
off a skeleton in the same light
as seeing a ******* - artist or pervert?
i guess both go hand-in-hand;
the hyphen, equal parallel usage with the inverted
coma / well... it used to be known as a ditto
                                                           ­            "
                                                               ­        "
                                                               ­        "
but mind you, before Oxford accepts a german
sounding word compound it requires a hyphen
in english - pistachio shells and shrapnel -
yep, as the above - unravelling of fictive tactics
of the bothersome nature for the narrator not only
loßing the plot but also the characters;
hey, english is perfect, i can apply whatever stresses
of φoνo i want... it's stark naked Adam & Eve...
i can put a ballerina's leotard on this encoding,
and no one will truly mind.