[Response to: ALSO, further, furthermore…]

Level One of the vaguely greek poem: He remembers the wheel on the post and then he speaks. He speaks about the green of his parents’ childhoods and the trains from which his father threw his socks. The neighborhood has not changed the green was already gone. The air was sticky and the train drew through it at what approached fantastic speeds comparable to meandering birds and sparrows. He subtly mentions a pronoun twice and impresses his readers with discernibility. The secret he says is skull, gut and sensitive fingers.

Level Five of the vaguely greek poem: Touching my hand it refers to a spirit of discernibility nesting in stripped stockings. With a knife he draws the wheel of the fruit suspiciously and locates the image with seeds comparable to what birds locate looking while others don’t. A small flat animal walks by watching the birds and does not approach. The poem appears to be wearing several layers appropriate for halcyon mobile defenestration in a better time. Time keeps changing and this year marks the second time a plant is recorded in history having devoured a bird.

Level Seven of the vaguely greek poem: In the background its whine becomes a different tone saved in the holding space of the evening. One wheel rocks forward and one back the rider trying to stay in one place while speaking to someone. Posting a discord on a wall he gets embroiled in a well of sparrows. In the poem his voice has a certain amount of words. Brackets get a higher purpose and parentheses don’t. Parentheses are too much a notion of craft while brackets as though desire that not everything be ‘understood.’ Brackets are the rhetoricians’ stronger hands in a world designed by someone. Brackets get it.


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