Bracketing the Natural Attitude (Marketing Workshop)
But if water considers
enunciation, that indecipherable
halting, not by the mistake of comment:
in the reduction of meaning anew.
Your first line will say
before it is ready
which has held between
grasses they are wary
falling deeply beneath trees.
In light of the mechanical process:
that it is possible
(Comprehends, thus urgently,
and acts, as company.)
I share this assumption
and have no stake in
calling it into question.
In reference to proper techniques
(or proper apologetics)
we must bear heavier freight.
Altered aesthetic, revelatory,
(as its object)
allows for the production of nobility, cravenness, beauty…
Just this replayed
betrays, surely one of the original sources:
This is charm!
Assumptions of which side
the wall falls on:
should we say items?
As though in a mixture of rooftops we could be steeples.
We will all become middle-aged professors.
The fortuitously produced twin will as well.
“To slip a to will alongside a to let is to show us the pure possibility of the future.”
We do not expect signs of order
on our sleeping eyes…
In the door,
an accurate picture
(frame level determining).
Not only, but this one; not only, but her porcelain skin (that alabaster jug); not only, but has she noticed?
The magical realism comes not from altering the surface of life, but from radically undermining the very possibility of being.
To free: being of the model.
Identity stepping stones
as versions…or simply
to be what is happening
“we see things that are not present.”
As if we were tilted
plate glass, behold:
we see the same image.
tie the literary.
(Apparently, he saw before
wiped clean: skill to expect results,
waiting, principle to come.
I am one person (“one and
unjudgable in the world”)
The branches of the critic's ‘illusory tree’ are often the objective criteria for judging works. Such criteria seem as if they would sustain the critic, when in actuality they are usually merely hollow attempts at avoiding the work.
Forget your doorways,
these are torn maps that bloom:
(to know secretly
this shiny curve
this secret under
as a proverb. If you
reign. To be fully
is to never comprehend
velocity. These are your weeds:
But taste always remains essentially subjective. To objectify aesthetic judgments ruins the essential element of aesthetic judgments: that they are judgments of what it feels like for me.
These lions are not your only stores.
They couldn’t even note your claws.
If you want to know the truth,
this runs the other direction
between new leaves, or destroys them,
mostly rips them to shreds, mostly.
Small in a goat, this slaughter,
curled over lip of a small cup.
(who cared little
about the niceties of fine print)
in support of their position,
but I think just the reverse is true;
either I look inside
or I am an insider.
Notes on the, as you have said, crossing:
thank God for water, enough for reflection
and not completely random
because I am me
sucked into the earth.
as if the shadow were a reflection.
The plot is well-known enough
not to be summarized here
so why assume something different
for the way we act together?
We are justified in our feeling
that custom is oppressive.
But we are as wide as we are wounded.
Critics are always in danger of objectifying taste in order to avoid the problems of subjective taste. This tendency is seen in the value critics place on objective criteria for judging works as opposed to the pleasure works give those same critics. The comparison with gustatory taste helps one avoid this critical tendency, for what is eaten is taken first in one’s own mouth.
rubbed off on the teeth
during the date.