American drama -- 20th century; Experimental fiction, American; Prose poems
Silence is in blessing and chasing and coincidences being ripe. A simple
melancholy clearly precious and on the surface and surrounded and mixed
strangely. A vegetable window and clearly most clearly an exchange in
parts and complete.
A tiger a rapt and surrounded overcoat securely arranged with spots old
enough to be thought useful and witty quite witty in a secret and in a
blinding flurry.
Length what is length when silence is so windowful. What is the use of a
sore if there is no joint and no toady and no tag and not even an
eraser. What is the commonest exchange between more laughing and most.
Carelessness is carelessness and a cake well a cake is a powder, it is
very likely to be powder, it is very likely to be much worse.
A shutter and only shutter and Christmas, quite Christmas, an only
shutter and a target a whole color in every center and shooting real
shooting and what can hear, that can hear that which makes such an
establishment provided with what is provisionary.
(Two.)
Urgent action is not in graciousness it is not in clocks it is not in
water wheels. It is the same so essentially, it is a worry a real worry.
A silence a whole waste of a desert spoon, a whole waste of any little
shaving, a whole waste altogether open.
(Two.)
Paralysis why is paralysis a syllable why is it not more lively.
A special sense a very special sense is ludicrous.
(Three.)
Suggesting a sage brush with a turkey and also something abominable is
not the only pain there is in so much provoking. There is even more. To
begin a lecture is a strange way of taking dirty apple blossoms and is
there more use in water, certainly there is if there is going to be
fishing, enough water would make desert and even prunes, it would make
nothing throw any shade because after all is there not more practical
humor in a series of photographs and also in a treacherous scupture.
Any hurry any little hurry has so much subsistence, it has and choosing,
it has.
ACT TWO
(Three.)
Four and nobody wounded, five and nobody flourishing, six and nobody
talkative, eight and nobody sensible.
One and a left hand lift that is so heavy that there is no way of
pronouncing perfectly.
A point of accuracy, a point of a strange stove, a point that is so
sober that the reason left is all the chance of swelling.
(The same three.)
A wide oak a wide enough oak, a very wide cake, a lightning cooky, a
single wide open and exchanged box filled with the same little sac that
shines.
The best the only better and more left footed stranger.
The very kindness there is in all lemons oranges apples pears and
potatoes.
(The same three.)
A same frame a sadder portal, a singular gate and a bracketed mischance.
A rich market where there is no memory of more moon than there is
everywhere and yet where strangely there is apparel and a whole set.
A connection, a clam cup connection, a survey, a ticket and a return to
laying over.
ACT THREE
(Two.)
Public-domain text, read in full here on John Shaqi.
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