Cubism plays flirtation into helium. Baffled clutters of intent fidget through morality. Metamorphosis sips the forehead. Honor sits in a cemetery. A thumb does ham and it’s magically red. An indigo phonograph serious as an airplane landing in an oasis of introversion deepens the stars. Candy is an invention, a pleasure of visceral lucidity in food. My medication resuscitates its own peculiarities. Structure begs for development. The texture of a sleeve tastes of pagan stubble. Wrinkles of rawhide find their foam of a perfect moment. Finger and mouth go resonant in a concentric propinquity. The sky murmurs of a Fauvist train remembered as an engine of sound. The winches and pulleys of consciousness create a linguistic element that occurs as a wisecrack in the ice and seizes chemicals never before aired on TV and so goes about the interior of the head disguised as an arena in a flake of wax. The mathematics of this is where the squirrels come in. They leave behind a skeleton of numbers. And Cubism arrives at last in a sedan chair of nipples figured by thread. In other words, a perfect concertina. Romance galvanized by a fez, a face in the asphalt, Nikola Tesla standing in an alley in the rain squeezing it in, letting it out, so that a wheeze of music cools into a marvelous stew of shrubbery chalk.
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