while I may do you perfectly. the snow angels on gasoline st., did you
see them? All of the houses were dripping wet too, one girl with gold laces on her leopard shoes wore red plastic pants; totally soaked to the bone.

to train ourselves to brave the heat of each others' bodies as we awaken in  one small bed, one small blanket. the both of us yawn. it's so fun to make waffles but neither of us like to eat preference. I love you to death but prefer to brush my teeth alone- one tooth at a time.

embrace your new t-shirt, even though not everyone enjoys a good show of a flock of crows. hand drawn indie wicker-hipster prints. coffee by the pint. you crack me up like vitrifying glass sheens of the individual bubbles in a bubble bath or the ******, glazed eyes of the monsters' eye while a shark attacks.

creaky sounds of bodies mapped by fingers, tickled tummies rippled by listening to witch house singers. you crack me up, count chocula. It's Saturday, I love to laugh while laying down. everybody's funnier when they're laying on the ground. we toast to ghosts.

luminous lengths of birthday candles

lickedidddddddddddddddddddddddddddddddddddddddddddddddddddddddd­ddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddddd­dddddddddddddddddddddddddddddddddd                                                            d 0  y0urself as best you can

well then shepherd in the mess why does that sharpened cowl of wheat surround those sweet yams in the satchel, some scene of loosening transgressions, no pear ripening itself one dull, and one unfulfilling afternoon, rolls down over its branch of sister and brother father and mother Bartletts from the stem, only to make its way into the bottom of that stretched out tawny hide. Where by the wayside every other nobody can see straight inside when a hand moves in, sweeps its fist and then goes deeply down into that can of rotten novelties we all hate, but you feel keeps us in suspense. I wonder will it ever end? Bells busting from the insides of their guts, another candy shock, up and bounces, popcorn kernels, roasted almond slivers, and some preceding green vegetable posted on the 8th St. Diner marquee display on 9th, another advertisement fighting at the sore, devoured hunger for that silhouette following closely behind the moistened wells where my brush dabs lightly into the cup before the gouache and paint mixture begin to dry, that is where I wait and wonder why? Why? Pained with hunger but besmirched with fright, skin sweaty, knotted like muslin yards growing weak against the coil. So humbling were the groans that nearly a decade crossed swiftly across his face, only five or ten minutes had passed before another twenty years flowed into the vast matrix of the rivers of blue sweat marked by estuaries, creeks, and streams across the brow, down the cheeks, and ultimately across the neck, lazing down into the chest, before settling its heavy panic soaking in the guts. Where a heavy glass brick has been vitrifying in the sun, never have two people seen the steamy and piping-hot quarry go from its conviviality and festivity of life, into this shriveled up tree having found its way into the prairie where giant winds bend its branches and enormous thunderstorms nearly strangle it with its own roots. Frisked by sin and pangs of nostalgia in which a thousand thoughts intersplice the whorls imprinted upon our brains.

Kaitelka was in the Equinoctial Aftó, she bathed but always oriented herself as an Argonaut star bathing in the Aegean while waiting for the ******* of Áullos Kósmos. Between both Aulos and Citara, she modeled the auletic- citaristic, in glimpses of her Psychic Trisomy.  In effect of the existence of an extra chromosome in a diploid organism 158, for a number of chromosome fifty-four, instead of a homologous pair of chromosomes. From this position she was limiting her chromosomes of normality in the genetic proximal when entering the bay of Skalá that she was waiting for her native, where the art of navigation danced in the nitrogenous water that brought her from Skalá; from Eleios-Pronnoi, about 39 km south of the main city on the island of Argostoli, in southern Kefalonia, on one of the Ionian islands of Greece. From here, mimetic was thrown towards the art of the unknown sea, collapsing and disoriented by its territorial similarity, and maritime per se of its Otolith that brandished it in dual places of Ionian-Dodecanese geography, following the semiotic songs of Leiak that emerged from the auletic to infer Ballenid genera, which acted precisely between the island and the Bay of Patmos with the same name as Skalá.

Kaitelka's Vernarthian tenor carried her behind her with another Ballenid, this one carried the Demiurge Ezpatkul, with his prominent Augrum or Gold teeth that rotated on the backs of all the borer beetles, being Scarabaeidae that delimited towards a dialectic, and paraphrase of a qualitative satirical one, especially in the form of Vernarth's sub-mythological subgenre. To commend all the hypotheses of this whale, it sang with the native cephalization ultrasound, where it continued to harmonize media in its cranial cavity, and in the muzzles of its larger fins that transmitted waves of parapsychological regression towards Vernarth, parodying the transparent sendal ballads that it made. with his transit through the water, however, not having members that strengthen his controversial cetacean passerby by waters of a melodious literary language, such as a great inspirational propeller, and satires that host greenhouses in most of the jubilation, related to rudders that furrow his verbal poetry, easing restrictions, and possessing the genome that was deprived him in his gestation, of a maternal expropriation victimized with fears of an end, and Apocalypse hungover by the sea and freshwater. They piloted their heart valves, mere and Dantesque with Zeusian buttress spauto, muddled and bundled in their bombastic myocardium like omitted ships without ever lifting anchor and setting sail, a very brief tulle of water satirizing formula additions, and a piece of dull wood on its spur that was It bore like a whale, it was carrying its weight in a literary category where there is no way to test it. Without hindrance, she laughed alongside the breakers in the manner of a belligerent tendril in thick keel skins, dramatizing him and perhaps delaying the investiture of Vernarth's Himation Proskynesis, peering jocularly and foreshadowing his encounter with her. Her chains were Caucasus icebergs, demystifying seasonality by residing linked to a single Down Whale destination, ******* with her dorsal to exhale genome rearrangements with Cinnabar, refining hormones and stereotyped whale chromosomes.

The concordance of the Satirical subgenre, and the polarized gender correspondence inanimate Kaitelka, usurping the intentionality of the sub-mythological drama, in two roads of Skalá that appeared to lose the standard of their ears, in tragic representation versus the comedian staging, harbinger of an interlude between two areas that struggled to have it directed towards three comedies that plunged into three tragedies, missioning the furrowed features of the ideals of survival, with preceded parables of the psychic-linguistic being, due to its canonical supernatural modality by blending itself with disciplined domains. Of a rhetorical poetics, rectified in religions that grant Orphic and messianic structuralism; foreshadowing the hymns of Orpheus in the Bible, and metaphorical in revealing divine truth, accessible only to spirits worthy of it. The purpose of metaphor in her poetry has the deciding function of the ineffable of thought, through simile, comparison, or image.  Song and poetry, song and prayer, prayer and ritual forming an inseparable phrase of meaning in it, impossible to differentiate in the biblical psalms themselves. The penultimate of them recalled number 149, being a hymn destined to accompany the dance; "Make melodies for him, with drums and lyres." It is known that the classical instrument of Orpheus reaches the level of the sacred in biblical texts. Psalm 150 contains an orgiastic ending to a symphony, in the description of the instruments that accompany the word and the voice that praises God, with sermons from Kaitelka blooming from an oceanic being and printing songs of the subgenre, without blemish of sub- mythology and the unconfessed proceeding. The comical exaltation of him recreates aspects of great joy, for those who feel vibrations under his belly in his orphic water, portraying semis or semiotic cathartics of their own trisomic roots, in an effort to decode drama, for intermezzos of the mythological subgenre. Borker with his sword Mythos interpreted the story of Kaitelka when he told her about the melting of Horcondising, seeing in them friendly glaciers that included her within the storytelling of provinces that sensitize the culture by rebirth on spherits and plasma hematocrits, for an apologist that admits inanimate corporality actor. Its genesis is Bereshit, "which names and does not start", from the undervalued parashot of the gods and kings, commanding them ibid to the inter-dogmatism that it contributes in its credit reserve, in large consortiums besieging colonies by the southern seas of the Borker  Nótos. "Evil tears their veins heal their goods and relegate the forgetful in the tradition of existence alongside the demiurges, incontinent to their ills that enjoy making creation sleep, soothing it in innocuous myths that are often more than a truly supernatural!

Helios went out to the road by the west and not by the east, in the nascent instant of the ectoplasm that revealed micro satires that led to the station of the hero who lives hidden, behind the proscenium of cultural and religious intimacy, Kaitelka plunges a few meters below the Aegean where he was already arriving, and he can realize that he did not see marine species around him, only beams of light that distorted his view of those who flatter him on a descent? Underwater a mythical mission wailed on dry surfaces, and the phenomena of the underwater stones were relaxed before any reflection of the veracity of a myth of expression in the mouth of a fish, brushing against systematic hermeticisms of what was infinitesimal. All this dialectical journey towards inevitably alternating molecules of his genome, to re-establish himself in his hybrid status upon reaching Skalá, here he would have to use his two neurochemical brains for a mortal instinct that does not die inside the mouth of a whale but in interrogation. …?  Based on Leiak's sexagesimal nanoscale extension, endowed with a fractional comparison that collects mythologies within them, for the uncertain truth. The only burden of etiological myth in Kaitelka is a consequence of her suffering, which is offered in psychic trisomy, for being **ized by three chromosomes, disorganizing her reality as a specimen that unfolds as a congenital disease.

Kaitelka says: "Who am I and where do I come from? I am reaching the floodgates of my lord Vernarth, and I can see that I am reborn in his astragalus and honeysuckle, which tell a story ****** under the tripod of Herophila.  Authoritarian truth that will bow before the pig to become, smelling here the tragic essence in truths that are hidden in symbolic denial"

Kaitelka is instituted a few miles before she begins to navigate in a zigzag, trying to condense forces for the origin of her ethereal, with sarcasm techniques that the self encourages to plunge into diluvian tears and moan in the scenarios of uncertainty, in the judgment of pouring out real myths, transposing its flow in the destination that is flooded in imprecise gestures and between cries with super sounds that lifted it on the swells, and these, in turn, were shedding the mystery Masken by raising water concentrated in onerous polymorphology. With joys and hilarious meltdowns on the mountains, she approached everything when she reached the pleasant Skalá, escaping from the cosmogony that bound her ungraciously on the light water, overflowing towards the very origin of a Vernarthian deity, in pasts and futures that do not intersect in the radial of its origins. The sky proclaimed laughter and mimicry gestures that adhered to the vitrifying phenomenon of past-present pashkien images, ready to lightning that heals the invalidations of walking on disturbed waters, a dipsomaniac leitmotif in early Christian justice. Kaitelka sins irascible, violent and proud, urgent and judicious, but conciliatory despite carrying a cross and a harpoon on her back. She will remain Kaitelka Down, but Patmos will arrogate her Thracian gift from her Orphic origin to her, for purposes of radial preeminence in the Ballenids that hoist sacred sites. The adventure prescribes a univitelino twin, but when she goes beyond the hirsute destiny of her Iliad, she begs to go transforming into a rainy sphinx on the thick bronze roof when the coins are broken, towards a seduction stop that is enthroned in the gloom of the minotaur, in the numinous hands of a daffodil and on the face of the Epsilon. Or crawling in mitral of valvulopathy with the carriage messengers, with the swans or pigeon birds; perching on a wreath of roses and myrtles that surround her red bozos. Almost always appearing undressed next to her escort, usually more than multiplied towards her, with the amazement of her animal consorts, which are dolphins, and Thracian pigeons, a priori of being covered by the Pythia of Delphi that is migrating in murky triumphs of the Achaemenides in Gaugamela.

Kaitelka was in the Equinoctial Aftó of Áullos Kósmos IV after geomancy was oriented as a star Argonaut bathing in the Aegean while waiting for the ******* of various sectors of Áullos Kósmos. Between both Aulos and Citara, she was modeled with the aulética-citarística, glimpses of her Psychic Trisomy. In effect of the existence of an extra chromosome in a diploid organism 158, for a quantity of chromosome fifty-four, instead of a homologous pair of chromosomes. From this position she was limiting herself with her chromosomes of normality in the genetic proximal, upon entering the Bay of Skalá, which was waiting for her native again, where the art of navigation flourished in the nitrogenous water that brought her from Skalá; from Eleios-Pronnoi, about 39 km south of the main city on the island of Argostoli, in southern Kefalonia, on one of the Ionian islands of Greece. From here, she mimetic, she turned towards the art of the unknown sea next to Wonthelimar who endorsed her with his favorite, collapsing and disoriented by their anti-gregarious territorial similarity, and maritime per se the Otolith that brandished him in dual places of Ionian-Dodecanese geography, following the semiotic songs of Leiak that emerged from the aulética to infer Balénid genres, which acted precisely between the island and the bay of Patmos with the same name as Skalá, to meet everyone and be a participant in the construction of the sanctuary.
Kaitelka's Vernarthian tenor carried her behind her with another Ballenid, this one again carried the Demiurge Ezpatkul, with his prominent Augrum or Gold incisors that turned on the backs of all the borer beetles, being Scarabaeidaes that were delimited towards logic, and paraphrase of a qualitative satirical, especially in the modality of the subgenre, and sub-mythology of Vernarth. To commend all the hypotheses of this whale that sang with the native cephalization ultrasound, where it continued to arrange means between the middle and in its cranial cavity to the percentage of the world map, with the muzzles of its larger fins transmitting waves of parapsychological regression towards Vernarth, and parodying the transparent cendal ballads that he did with his passage through the water, despite not having members that strengthen the controversial cetacean passerby by waters of a melodious rhetorical language, such as a great inspirational helix, and satires that house greenhouses in most of the jubilation, akin to rudders that I furrowed in his verbal poetry, easing restrictions, and possessing the genome that was deprived of his gestation, of the maternal expropriation, victimized with fears of omega, and of Apocalypse hungover by sea and water candy. They piloted their heart valves, mere and Dantesque with the Zeusian buttress spauto, muddled and bundled in their bombastic myocardium like omitted ships without ever lifting anchor and setting sail, a very brief tulle of water satirized aggregates of their formula, and a piece of stony wood on their spur he braced himself like a mammal, he was carrying his weight in a literary category where there is no way to test it. Without hindrance, she was hilarious next to the breakers in the manner of a belligerent tendril with thick keel skins, dramatizing him, and perhaps that would delay her in reaching the investiture of Vernarth's Proskynesis Himation, some looked out jocular and foreshadowed to meet with her. Her chains were Caucasus icebergs, demystifying seasonality by residing linked to a single destination of Balénido Down, ******* with her dorsal that exhaled rearrangements of the Cinnabar genome, clarifying hormones and stereotyped balenid chromosomes.

The concordance of the Satirical subgenre, and the inanimate polarized gender correspondence to Kaitelka, usurping the intentionality of the sub-mythological drama, in two Radas of Skalá that appeared to lose the standard of their ears, with tragic representativity versus comedian staging, heralding an interlude between two areas that struggled to have it directed towards three comedies that pounced on three tragedies, missionizing crossed features of the ideals of survival, with parables preceded by the soul-linguistic being, due to its canonical supernatural modality when it was mimicked with disciplined domains after of a rhetorical poetics, rectified in religions granting orphic messianic structuralism bis of the equinoctial aft; foreshadowing the hymns of Orpheus in the Bible, and metaphorical in revealing divine truth, accessible only to spirits worthy of it. The purpose of metaphor in her poetry has the deciding function of the ineffable of thought, through simile, or in comparison to imagining. The song is one poetry, and the song such a praying too, prayer and ritual forming an inseparable syntagma of meaning in her escaping from Arbela's zither, impossible to differentiate in the biblical psalms themselves. The penultimate of them recalled number 149, being a hymn destined to accompany the dance; Orpheus says: "make melodies for him, with drums and lyres." It is known that the classical instrument of Orpheus reaches the level of the sacred in biblical texts. Psalm 150 contains an orgiastic ending to a symphony, in the description of the instruments that accompany the word and the voice that praises God, with sermons from Kaitelka blooming from an oceanic being and printing songs of the subgenre, without blemish of sub- mythology and the unconfessed proceeding. The comical exaltation of him recreates aspects of great joy, for whom in his Orphic water, he feels vibrations under his belly portraying cathartic and semiotic of his own trisomic root, in an effort to decode drama, for intermezzos of the mythological subgenre. Borker with his sword Mythos interpreted the story of Kaitelka when he tells her about the melting of Horcondising, seeing in them friendly glaciers that included her within provincial storytelling that sensitizes the culture being reborn on its spheres and plasma hematocrits, for an apologist who admits acting corporality and inanimate. Its genesis is Bereshit, "which names and does not start", from the undervalued parashot of the gods and kings, ordering them from the ibidem to inter dogmatism, in which it contributes in its credit reserve, in large consortiums besieging colonies by the southern seas of the Nótos of Borker. "Evil tears their veins heal their goods relegates the forgetful in the tradition of their existence alongside the demiurges, incontinent to their ills who enjoy making creation sleep, soothing it in innocuous myths that are often more than a supernatural truth!

Helios went out to the road by the west and not by the east, in the nascent instant of the ectoplasm that revealed micro satires that led to the station of the hero who lives hidden, behind the proscenium of a cultural and religious intimacy, Kaitelka plunges a few meters below the Aegean where he was already arriving, and he can realize that he did not see marine species around him, only beams of lights that distorted the view of those who flatter him on a descent? Underwater a mythical mission wailed on dry surfaces, and in the phenomena of the underwater stones, they relaxed before any reflection of the veracity of a myth of expression in the mouth of a fish other than Theseus, brushing systematic hermeticisms with the gloomy and infinitesimal. All this dialectical journey towards inevitably alternating molecules of his finite genome, to reestablish in his hybrid status when arriving at Skalá, here he would have to use his two neurochemical brains for a mortal instinct that does not die inside the mouth of a whale, but in the interrogation after being swallowed…? based on the extension of the sexagesimal nanoscale of Leiak, equipped with a fractional comparing that collects mythologies within them, for the uncertain truth. Kaitelka's only etiological myth burden is a consequence of her suffering, which is offered in her psychic trisomy, for being bastardized by three chromosomes, disorderly the reality of her specimen that unfolds her as a congenital disease.

Kaitelka says: Who am I and where do I come from? I am reaching the floodgates of my lord Vernarth, and I can see that I am reborn in his astragalus and vines, which tell a story ****** under the tripod and vapors of Herófila. Authoritarian truth that will bow before a pig to become, smelling here in the tragic essence, and in truths that are hidden in its symbolic denial?
Kaitelka is instituted a few miles before she begins to navigate in a zigzag, trying to condense forces for the origin of her ethereal, with sarcasm techniques that self promote her to blink in deluded tears and moan in the scenarios of uncertainty, in the opinion of pouring real myths, transposing its flow in the destination that is flooded in imprecise gestures and between cries with super sounds that raised it on the swells, and these, in turn, were shedding the mystery Masken by raising water concentrated in onerous poly morphology. With joys and hilarious meltdowns on the mountains, she approached everything when she arrived at the pleasant Skalá, escaping from cosmogony that linked her weightlessly on the light water, overflowing towards the very origin of a Vernarthian deity, in pasts and futures that do not intersect in the radial of its origins. The sky proclaimed laughter and mimic gestures that adhered to the vitrifying phenomenon of past-present pashkien images, ready to lightning that heals the invalidations of walking on troubled waters, a dipsomaniac leitmotif in early Christian justice.
                                            
Kaitelka sins irascible, violent and proud, urgent and judicious, but conciliatory despite carrying a cross and a harpoon on her back. She will continue to be Kaitelka Down, but Patmos will arrogate her Thracian gift of her of Orphic origin to her, for purposes of her radial preeminence in the Ballenids that hoist all the sacred sites. The biological diagnostic prescribes an univitelino twin whale, but when she goes beyond the hirsute destiny of her Iliad, she begs to go transforming into the rainy sphinx on the thick bronze ceiling as she breaks in the minting of the coins, towards a stop of seduction that enthrones in the gloom of the minotaur, and in the numinous hands of a daffodil on the face of the Epsilon. Or crawling in the mitral and in her valvulopathy with messengers, carriages, and with swans or pigeon birds; perching on a wreath of roses and myrtles that surround her red bozos. Almost always appearing undressed next to her escort, usually multiplied in excess towards her, with the amazement of her animal consorts that dolphins are, and Thracian pigeons, a priori being covered by the Pythia of Delphi that is migrating in the murky triumphs of the Achaemenides in Gaugamela.

How were they introduced to themselves within a flash of light? Enormous shots of humanness flying across the universe- only still inside the shapes of two blue eyes staring back at this vessel. Just molecules of flesh colliding into one another in a heap of colors and sounds we’d sometimes prefer to force ourselves not to hear. How do you keep yourself from exploding? Into a masterpiece of delightfulness pushed forward into the mouth, and sometimes only to be a breath, or a story dressed as a pink pillowcase on a childhood bedroom.

Sometimes it’s just as if there was never ending cold and never ending warmth, and between each other there we were with our noses pressed up against the glass.

People are only sometimes not shaped like beasts, are sometimes only chiseled into neatly marble statuesque ephemeral deities, and then into the tombs the book keepers go, into the ruins the shapes and sounds and colors disappear. Shattered into the vast expanse of vitrifying light, bouncing against your head my head, landing on the bedside table, the corner of your knee, into the knapsack with the broken zipper, far off into the jungle, or into the pantry next to the agave syrup, adjacent the espresso maker.

There I am loving you more and more, quietly raking my hooves against the dirt, reigning midnight shining orders of dusty moonlight plashed on the time of winter lake, courtiers in your centrifuge of melancholy, balancing the toes just inches below the surface of the water, where the skin shuffled into the brief sentimentality of being thrusted into the infinite transdimensionality of the human escape-

hands feet legs being ****** and pressed upon the glass. Infinite planes of man hurdling with fastidious dreamscape prejudice into the quakes and trembling, the  indivisible and unquantifiable desires of yore crushed as the envelopes bars break against the seams, then come the staples and the body’s tries at reattaching itself to this the trying table of familiar names, this the tepid jocular playing field. While the undulates are thrown into the academies. While the infrastructures topple over, and the sunlight froths upon the celestial satellites nearing and nearing to us, folded over until we wake up from our necks and into our heads and inside of our brains, until we pull the thread from our gems and count back through the catalog pages trying to find letters of words in other languages piecing together the wanton madness of yearning for you and sharing the sounds of a voice that’s forgotten its own triumph of revealing or speaking its name.

There is the room with the panels and the drawers. These are the wildernesses humming with the poison and quaffing the spit and drugs at the heady realm of human-like lightness, pals or even matter gives pause to answering you with what no understanding beeps or carries on forward, but rather bleeds, tormented, reaches forcefully, it has been nearly a quarter-millennia. Here is the start, the finish, here are the minutes, the hours, here are the streets, the beach, the bench, and all of life is ours, from the dawn to the crepuscular night. Here in a stone room where in black and white photographs spin their *** drives like mercurial thermoses bouncing of each other, dancing into the next world, or just fishing for alphabet soup with a wooden spoon.

Here it is. The short-sheeted bedroom linen collection, folded comforter in the closet. The bath water is still and hot. The sky is clouding up soon, but not quite yet. In a ball of light rounding bloom, comes the silent fans that’ve carried you. While of a breath the trembles sway, and take us far away from here.