Whether an adult
or child
with
the object
or purpose of
being one more

or more of the same;
further;
additional.

A human being,
soft or delicate
in substance;
not hard or tough.

Not any particular
or certain one
of a class or group,
having,
compelled by,
or ruled by
intense emotion
or strong feeling;
fervid.

Penetrating
fond attachment,
devotion,
or love,

or entering deeply
into subjects
of thought
or knowledge;

having
deep insight
or understanding.

good friends
again

Oh sorry—
I was just in the middle
of composing my SpongeBob SquarePants opera.
I am almost halfway done.
At this point, I think I’m going to cast
Alanis Morissette as Squidward Tentacles.
However, I am still not sure
if her voice can
handle the E flat
in the closing song.

Even with that, one cannot
ignore the sheer power
and vitality of Morrisette’s
vocals. In her songs,
Morrisette creates
a sense of remarkable vagueness.
In my mind, this is exactly
what Squidward Tentacles attempts
to accomplish in his
clarinet work.

Bark

A who before.

           bird
           footprints
           meadow
           forest

Heading seem;
Mark a pick leave gentle the;

A knot;
And upon pine along.

The may— and know limpid the.
From so a grass.

The appears sturdy;
Brush ***** clear

          needs
          speaks
          stay;

Low? to there tender
an above mind to hush trees;
Does brawny;

Erupts sincere my to

           lake
           flower
           keenly
           moon.

It be the without is barely.

           Line

I’m downy.
The near.

The voice;
The.

She got a big *****—
Yet, should I call her “big *****”?
To many, the implications of having a big *****
Contains a certain celestial-power value.
When one generally conceptualizes a person
Who has a big *****, one often associates
The notion of a big ***** as a good characterization
Of a human being. However, one must propose
A remarkably simple question—
Is having a big ***** a good characterization
Of a human being? While considering this question,
One must understand that the actual idea
Of  “goodness” is simply undefinable.
This is simply because one is unable
To understand an idea without the use of the mind.
As one may assume, a big ***** symbolizes strength
And power. There is something objectively cerebral
That pushes a big ***** into existence.
One must note that a big *****
Is a sense of action.

I am alive
because I cannot die.
But I do not have
anything else
I want to do.

The large pretzels
from the mall
taste delicious.

However, I do not
order my pretzel
with dipping sauce.

For the dipping sauce
contains too many
carbohydrates.

I love you so much
I love you so much

A voice erupts without a hush
Upon the gentle downy brush.

The ornate
lamp

situates its
light

against the
wall.

It gradually
produces

a gentle
glint.

I’m heading near the ***** pine
To pick a flower from the mind.
My footprints leave a brawny mark
Along the tender forest line.

-And may the grass stay keenly clear
Before the sturdy moon appears
Above the trees and limpid lake;
It barely needs to be sincere.

Should I tell her that I love her?
Would I love her if I tell her?
That her should love I her;
Her? love would I tell her? I tell I if
I her? her that her?
I would her;
I love should her? if would I.
Love I I love her I love.
Tell if her should tell
Love her? I would I love her? if if tell;
I I tell I her?
(again)
I love;
That if.
Tell should her? her would;
Love should her? her? I her tell I I tell I should love I should her that;
If tell her? her that love her that tell her I would would I love.
Love her? tell
If tell if love;
I I should;
Would love;
Love that;
Her would.
Her? her I her?
I I her? if I tell her I;
If her?
Her? I that her? love her I.
That tell tell her? tell tell love;
Tell her should her? I love if if I her? love if her? I would her;
I I love love would.
Love I should love;
I tell.
Absolution.
I that her I should;
I her? her I tell would I I her love if.
Her her her tell would;
Tell her?
Her? tell her would.
Tell I her.
Love her? her if I tell;
Would her I her I her? I love if her? her? tell would love would should her her? I her;
I tell would;
I love love love should I.
Should I I her? I love if;
If her? love I;
(I her?)
I love I.
Her I love her?
(again)
Should her? I love;
Love I;
Her? I her.
Love her? that if
Her? should.
Her?
Tell that tell;
Should that tell her? that I;
Would love I absolution I;
Love I her should love should love that;
Should tell if her would love her I tell love I if.
That I love would.
If love I.
Her I tell her? would if tell.
Her? as tell that;
If her tell.
Tell I if love that.
If love.
Tell if.
Her? tell if love;
Would tell;
Should I.

Is there nothing
to this cerebral portrait?
(I have already tried
loving— and
going for it). Yet,
I cannot deny that
a memory differs
from a moment.

I have watched
the silver rough
come against
the fissures of
wet stone.
And no—
it does not look
to let up. Its own
glimmer is not
good enough.

To just be it: a moment
I come back to. Ourselves,
going before the wet rock (again,
before the sun hits).

A woman who
walks toward her car

wears a black dress
under her trenchcoat

The bench was cold;
it was cold today

44  444 4 4 444 4 444 4 44 44  4 4 4444 4 444 44  4 4 4 444 4 444 4 44 44 44 4 44 44 4 44 44444  444 4 4444 44 4 4 444  44 4 4 4 4 4   4  44444 4 44 4 4  4 4 4 4 4 444 44 44 4 4 44 44 4 4444 44 4 44 444 4 4 4 444 4 444 44 4444 4 444 4 4 4 4444  444 4 4 444 4 444 4 44 44  4 4 4444 4 444 44  4 4 4 444 4 444 4 44 44 44 4 44 44 4 44 44444  444 4 4444 44 4 4 444  44 4 4 4 4 4   4  44444 4 44 4 4  4 4 4 4 4 444 44 44 4 4 44 44 4 4444 44 4 44 444 4 4 4 444 4 444 44 4444 4 444 4 4 4 4444  444 4 4 444 4 444 4 44 44  4 4 4444 4 444 44  4 4 4 444 4 444 4 44 44 44 4 44 44 4 44 44444  444 4 4444 44 4 4 444  44 4 4 4 4 4   4  44444 4 44 4 4  4 4 4 4 4 444 44 44 4 4 44 44 4 4444 44 4 44 444 4 4 4 444 4 444 44 4444 4 444 4 4 4 4444  444 4 4 444 4 444 4 44 44  4 4 4444 4 444 44  4 4 4 444 4 444 4 44 44 44 4 44 44 4 44 44444  444 4 4444 44 4 4 444  44 4 4 4 4 4   4  44444 4 44 4 4  4 4 4 4 4 444 44 44 4 4 44 44 4 4444 44 4 44 444 4 4 4 444 4 444 44 4444 4 444 4 4 4 44.

7829
9384
9901
9049
9978
6963
9605
1139
9900
4680
8443
9170
5513
­5223
8150
2634
8688
4783
1500
7517
6223
2137
7241
6837
1662
7018
­7397
9452
3313
1399
9469
8694
2782
6152
1469
5474
9698
3711
6103
­4198
4984
5762
8565
6700
9425

J 4 0 2 J E H S B (
P O 7 0 / 9 0 0 1 6
H J S 6 9 0 3 H 8 0
8 5 0 - 3 N R P P I  
U # U 5 0 3 3 5 9 9
J J 9 0 & $ 2 J O P

HALL
HALL
HALL
HALL
HALL
   ALL

1.) Time
2.) Three
3.) _______

among         the dark


cold              the new

1.)     rrrrrrrrrrrrrrrrrrrr
2.)     rrrrrrrrrrrrrrrrrrrr
3.)     rrrrrrrrrrrrrrrrrrrr
4.)     rrrrrrrrrrrrrrrrrrrr
5.)     rrrrrrrrrrrrrrrrrrrr
6.)     rrrrrrrrrrrrrrrrrrrr
7.)     rrrrrrrrrrrrrrrrrrrr
8.)     rrrrrrrrrrrrrrrrrrrr
9.)     rrrrrrrrrrrrrrrrrrrr
10.)   rrrrrrrrrrrrrrrrrrrr

MOON
MOON
MOON

MOON
MOON
MOON

MOON
MOON
MOON

The mind
loops back
on itself,
(always
as it does)
losing it

the
night
among
us. (and the stars)

Q: What did the nun say at about
     midnight?

*A: "I am the Pat Sajak you *****!"

For Sam, always.*    
    
                       She above
                       else.

                         halt,
the business (close).
                         shut
                         time as it goes.


The enter, the
                        bed of flowers
                        (the glaciers
                        of the poppy)
                        among & over
(the opening of the heart)
This is where we take our start.

Here, an atlas planted clean.
(the golden paint,
the dripping sheen)

V.

*ABABA
BABAB
ABABA
BABAB

ABABA
BABAB
ABABA
BABAB

ABABA
BA­BAB
ABABA
BABAB

ABABA
BABAB
ABABA
BABAB

ABABA
BABAB
ABABA
BABAB­

bdoy
ybod
dyob
obdy
oybd
ybdo
dboy
body
byod
odyb
boyd
ybod
obyd
­obdy
odby
doby

III.
veira

II.

ceum ceum
ceum ceum
ceum ceum
ceum ceum
ceum ceum

ceum ceum
ceum ceum
ceum ceum
ceum ceum
ceum ceum

ceum ceum
ceum ceum
ceum ceum
ceum ceum
ceum ceum

ceum ceum
ceum ceum
ceum ceum
ceum ceum
ceum ceum

I.

RRR RRR RRRRR R R RR R RRR R R RRR RR RR R R R RRR  R RR R RR RR R R RR RR RRRR RR RRR R  R RR RRRRRR R RR RR R RR RR R RRR RR RR RR RR R RRR R R  R R R  RRR R R RR5 RR RRR R R RR R RR R R RRR RR  RR R R R RR RRRRRRR R RR R R RRR RRR RRR R R R R R  RRRR RR RR R R RRRR RRR RR R R R RR R RR RRR RRRRR RR RR RR RR RR R  R RR RR R RRR R R R RRRR RRRRR RR R RR R RRRRR R R RRR RRRR RR R RRRR R  RRR RR R R R RR RR R R R  RRR R R RR R RR R R R R RRRR RR R RR  RRRRRR  RR R R R R RR R RRRR RRRR RR  R R RR  RRR R R RR RRRR  R RR R R   R R  RRR R R R R R RRR RR RR  RRR R RR R R RR  R R RR R RRRRR RRRRR  RRRR RRRR R  RR RR R RRR RRR R R R RR R RRRRR R RR RRR RRT R R  R R 5R  RR R RR R RR R R R R R R RRRRR R R R RRRRR RR  T RR RR  RR RR RR R RR R RR RR R RRRR R R RR RR R R R  R RER R RRRRR RR  RR R RRR  RR R R RRRR R RRR R R RR R R RR R RRRR RRRRRRRRRRRRR RRRRRRR.

I AM SICK
OF POETS
TRYING TO
BE POETIC.

IT'S BEEN
DONE FAR
TOO MANY
TIMES.

aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum
aum aum aum

ooo
ooo
ooo
ooo
ooo
ooo
ooo
ooo
ooo
oov
vvv
vvv
vvv
vvv
vvv
vtt
t­tt
ttt
ttt
ttt
ttt
ttp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
yyy
yyy
yyy
yy­y
yyy
^^^
^^8
888
888
888
888
888
888
888
888
888
zzz
zzz
zzz
zzz­
zqq
qqq
qqq
qqq
qqq
qqq
qqa
aaa
aaa
aaa
aaa
aau
uuu
uuu
uuu
uuu
­uuu
uuu

the taste of numb lightning

unbearable
stone,

immense
sand

&
cold
water

solid butterfly

I.
in the muscles
of the wood

II.
tremendous force &
light exasperation with
the sun talking

III.
monolithic songs
will remain the air

IV.
a concrete
Bunting

To the small frost;
though the rain
reminds me of you.

To the rasping sky;
I am a sore river.

A blatant touch;
the dainty landscape
is cold in stature.

This is for that cold whistle and its tempestuous ring.
Come to greet me in your hardened sheen? O, You crystal empress--
blind as the night, and clear as the day can see.

Un
der
a
drea
y
sea,

Un
der
a
drea
y
sea,

Un
der
a
drea
y
sea.

There is a fire at the lake?  Wow, that's brutal.

araht