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WAITING
to force these intensities to a shape, to burst or dilate. Body without cause, so detailed, so collate and threaded, you find yourself together making verbal patterns, visual attachments, which you can't unless willing an escape. If you compere, all concepts can be made concrete, released suddenly, a movement in commonplace, maybe over your head. Like I've been searching suddenly all over for justification. Dicing through bends in the time. It's suddenly a wall of laughter - warping occasion on a determined faultline. Or, we are all attached anyway. Not the same as attack. Bent on understanding, see? And it will curve us as we lean it out. The response which was so automated, so confused, is more like keeping up chance, smirched now in the temperature of the room. High order, it was heady lately. You had to be there to experience. And even though one left early, odd throbbing away, ready to hatch. And though you lay your ear very close to the side of it, which side have you taken? Responsive or servile? Others' needs don't curb in the zone used to blast others' intentions for. Can it be generous while qualifying embrace? The area is warm where thought pounds on it, day after day, bending pale green shade afterwards. That's unclear. Or maybe the eye which makes light of or sense anyway ↓ ↓ ↓ Confirmation
tear- ing itself away from this world or whatever. This space taken with -out & beliefs. Form arisen in prejudice. Clearing a
pattern domain for a complete attempt.
Launch it
with
you,
alternative
cipher re-launch. My
attempt no longer embedded in your attempt. Let's get
alienated. Always approach with
extreme uncaution. The topic is clearing untoward. Similar traces except operate English in understanding. Always approach. It
arrives late. Determinate being has pure reason? There has been in wilful blindness a
mechanism.
When we expect dialogue,
jams the effort, always end up miming. Some of us after the
opening.
Some want confirm or
reason denial.
Reason it myths on
outgoing HARD LINES. What eliminates after. What shows is a "new tradition" in new tongues or new ear pieces. I had meant to tell you the meaning, grasping
a new slight, licking a vantage point.
But it dreamt up this
frenzied
surface, clung to it faltering
hungry
& churlish suggestion.
(I'd never meant that hard).
Meant
that
marking it, faltered a site & hit on, except starting to fuse combined. In our outgoings
climactic accounts
of it- self. Recognize slowed,
wanted & culturally hit on "purpose." Not lacking but
slipping,
the point shucked of denial.
Afterwards wanting what came of it reason,
all futural meaning suggest -ive un- synchronized. Road Accident
Who handles one over thegap & thecrash? When it's all over, cut from it & grab wilting over some warm desire - metal - the wish of.
Trailed
salt cuticle
draped
from an edging. Nobody's inched along perfect. Behind thepowerfulwreck, just your soft outline
bruised hedged -
in
dripped formatting. Not least before, but that
was
-a shame not to kiss it goodbye. Well
more
important
wait on at the
ploughed skyline. EYES up - reddened on
both
sides before the rise.
Could've told one as good as new. Could've stuck to thesideline. Like reliefs - marbled in signia - swan's nests on mini oceans. A drunk
faltering &
spitting,
one time out
of ten
will there actually do something.
Others, smell it, theFEAR. Warm
engines
pump out
their love of the ether.
What cry, what matters
gathering hurt to itself?
No,
waste
drips all over
every
one is
ruined
fields
, of no fault but their own.
Ambitious
meldings gathered & raisedto all
but the last purpose.HAMBURGER LANDING (sung to the tune of Goodbye Lenin) It's a homology, honest. Scratching the surface
aesthetics -
will knowing-love-holding-this-stereotype-origin. i'm for this TOTAL then-nature - i'm for grappling always, not raising potentiates. Thinking it over, specifically NOT reading enclosure, intended technologizations - having this
sped-out-&-stretched-over-brutalized-culture.
Pouring off line-endings - we talked in the meanings of Java. i'm for flagellating the i's off centralised wording mechanisms - One line too many & it's all corrupted. Conscripting party
sensitives, somewhat quiet about
interference. Order: a U.S. rare beef steak to go - Don't allow those influences into your homes. Yet the animal magnetism - radiates into the cracks, - gets in everywhere! Who
crept under the microfoil. It's something other than -
large blockades of information. There's a recent buzzing, it happens ALL THE TIME. Maybe i'll cadge a lift
if you offer.into the soda stream of your love Having someone appointed
to talk about
- except all that screaming around 2 a.m. You show up to
the housechoking on your own
conformism.
It's the wording at those things whores my imagination. Minutes around notes deaden further into the cracks. Where were you outside McDonald's in the vision anyway? Make your surrender quiet
in the former airbag, where you're
a hologram. Note having met you before relapse, but never
quite after performance.ALMOST Can't it absorb fallout from the song-&-dance routine
agony columns…
Doesn't
it come - two for one - with a cut-out, a face like
Lavinia
Greenlaw. It's a monotony, sometimes. But then inculcates into - somebody else at the
side-show department.
Going to blow this subtext if you don't FOR ME ridiculous sublimate details.
That
sliding in almost-assurance, which said increments frustrate over
a certain hatchet job, lets call it (convenient) D.I.Y. Impossible figures, not a word now about dictate origins. How many questions to go, i have none, except in my head. i want to be outlawed from culture when I grow up. Having the recent primary
aims to be happy is all i care about.
Quietly censored. OR, money's a cruel aggregate. Waiting to plug their
fantasy headlines into a whole.
WHEN EXPECTATION RELINQUISHES UNDERNEATH ITSELF in concentric myth-lines. Formal the plot - not deleteriousness. You expect forward motion. To act - not just in a field - but over a field. In it, heading out, spreading. Plotting one's course beside familiars. Perhaps rendered, getting a taxi or plane.
There in reversible relation are more fields - consciousness permits. Grounds for ill-feeling, due to closeness. The heroine of a book mirroring a complex (is disconcerting)! You're due certain erasures, and for courage read luck.
Untold properties push you
outward. Messages will not bear you
though masquerade readiness. In the morning, more seething than usual, because seeming uncertain, sleep is dolled out - whimsical by the hour. Smell of barbarism each time put to the unconscious. Describe, briefly, her lips. But cannot. Only parallels emerge -
peccadilloes. And careless attentions.
These always - but they can't - namely - control measures. Microscopically viable. Lingering over real joints - visible to the few. Over like coloured rows. The two parts heady in contrast. Live transmission of a calf muscle being segregated - literally torn apart - placated. Or unconsciousness
(paraded). But there is NO SUCH THING.
By remembrance I mean: always exceeding the mark. Rows disjointed like heads, automatically piled. Not even cheap but free, biting the point, as if to enlarge it. What was it that first got
away? What muscles left that are moving?
Are all the returns fervent, trenchantly uninformed. Con amore? Or could that tell
when it was ‘broken.’
So much morality drenching the lost production. There were dialogues, but they was interested / bougie, with no matter but who re-settling all scenic routes this way & flawed. I realized that what made
us happy contravened
ourselves. Prepared armament. Remembrance. And once you're not happy - I will have gone. Or conversely, once I've gone - you won't have noticed me. Or your freedom. Regrets shade from exactly this distance im- promptu release. And why should we want to grip on that unfinished scene |
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emily critchley holds
a PhD in contemporary, American, women’s poetry
and philosophy from the University of Cambridge. She is the author of
several poetry chapbooks, with Arehouse, Bad press, dusie,
Oystercatcher and Torque, and her Selected Writing, Love / All That /
& OK, was published by Penned in the Margins in 2011. She teaches
English and Creative Writing at the University of Greenwich, London.
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