The allegory can be many points of light or it can just meander away
but even if does, it meets the iron laws here and there and ‘so much
for meandering’ it goes. Meanwhile the points of light will coagulate
to form inhospitable shards of character, and something of the one
will begin to show, and the meandering too will join in after having
made peace with the iron laws; they are more hospitable now, the
coagulated points of light upon having coagulated; such is the story.
Now that you have eked out the granules of distance, you seek to shrink the gaps as day wears on. The terms of distance and of union have been set anew. The pace has to vary, the rhythm adapt.
The play is adamant, the music threefold, and the arbitrary divisions that were brought in to be retrofitted are sitting it out,
watching at a distance where the cougar owes no courtesy, the
grass blows in batches, and the famine gets soothed in the rain.
The dogged hounding of abstract joy will make you pause
and go. The rhythm is not as obvious but it is as sure.
It grounds the divine. Concrete meets abstract. The relen-
tless pursuing of that whisper going off on a tangent then
coming back to master syllable. Master syllable meets miss
syllable. It is wrong to think otherwise; wrong to dismiss it.
the girth is not of the essence, it is not at all of the wanting-to-essence either, but it is there, and it is patient
your lion cause is expectant
“girth, come forth!”
timid, the laughable retires in those silent showers, those fecund harbingers of noon-days and half-truths.
In the absence of
the very presence, absolute in perpendicular shafts
angled by necessity
gives merriment pause
and absence cause
the small small is not to be taken lightly
shunning ornament, it is bereft of the steel that compels drama to persevere in spite of the ground being hollow
no, the ground cannot afford to be hollow
something creeps in to fill the void and the absence of
gives way to the perpendicular shafts and there is