8. The machinery
9. of connections, the flesh, not
10. more lively. I saw
11.
36. Without alibi.
37. Now we make a rejoinder.
38. I Lessons. I. Leave
39.
40. a rejoinder. I
41. Lessons. I. Leave I. Lessons.
42. I. Leave I. Lessons.
43.
44. Lessons. I. Leave I.
45. Lessons. I. Leave I. Lessons.
46. I. Leave eye lessons
47.
48. Leave I. Lessons. I.
49. Leave I. Lessons. I. Leave eye
50. lessons I. Listen
51.
52. I. Lessons. I. Leave
53. eye lessons I. Listen to
54. even more many
55.
56. rejoinder. I did
57. not in clocks... blessing instead
58. of after-effects.
59.
60. clocks... blessing instead
61. of after-effects. I do
62. excite, excite we
63.
64. of after-effects.
65. I do excite, excite we
66. excite, how do we
67.
68. do excite, excite
69. we excite, how do we think.
70. Four and after that
71.
72. excite, excite we
73. excite, how do we think. Four
74. and after that he
75.
76. excite, how do we
77. think. Four and after that he
78. is astonishing.
79.
80. Four and after that
81. he is astonishing. And
82. a substitution.
83.
84. and after that he
85. is astonishing. And a
86. substitution. Words
87.
88. is astonishing.
89. And a substitution. Words
90. have resisted that
91.
92. explosiveness
93. or surprise, is so gay. We
94. become like to be
95.
96. so gay. We become
97. like to be excellently
98. searching. Even if
99.
100. searching. Even if
101. the idealism of the
102. cravings of you by
103.
104. the idealism
105. of the cravings of you by
106. hard-to-track voicings.
107.
152. the 'positive'
153. powers of a Real, not back
154. down to please. Pleasure
155.
176. an excitement is
177. this, the juxtapositions
178. are there different
179.
192. the flesh, not not no.
193. Reconcile is a plain case
194. of imagining
195.
200. make mischief. Doing
201. away with illusions of
202. reference we been
203.
220. been loyal to give
221. pleasure. Have we been loyal
222. to please. Do please me.
223.
232. excitation, with
233. the trappings of the force of
234. words is productive,
235.
236. the force of words is
237. productive, affirmative,
238. transformative.
239.
264. us, sounds and resounds
265. us, unmediatedly
266. itself, publicly.
267.
300. Our possessive
301. gaze has been loyal to say
302. chopping. We get more
303.
308. been loyal to say
309. chopping. We get more many
310. many many more,
311.
312. say chopping. We get
313. more many many many
314. more, and many more
315.
316. more many many
317. many more, and many more
318. many more I did
319.
320. many many more,
321. and many more many more
322. I did surprised me.
323.
32. I did surprised me.
333. We're not more lively. I have
334. resisted I have
335.
336. unavoidable,
337. or the exceptions, what a
338. system in voices.
339.
340. experiential
341. impact, a language almost
342. beyond linguistics.
343.
352. not the same, You are
353. not the surface and coming
354. again and again
355.
356. same, You are not the
357. surface and coming again
358. and again is not
359.
360. surface and coming
361. again and again is not
362. not no. Reconcile
363.
368. again and again
369. is not not no. Reconcile
370. is an inside, not
371.
380. immediacy
381. that replaces it is not
382. as compensation.
383.
384. that replaces it
385. is not as compensation.
386. But here, the aura,
387.
388. aura, communing
389. with long-distance voices. Dream
390. for making reading
391.
392. reading unfixes
393. the written words and fragments
394. of establishing
395.
396. the written words and
397. fragments of establishing
398. where there is not a
399.
400. not the written words
401. back into its affective
402. arms, not extended
403.
404. arms, not extended
405. prosthetically with no
406. escape possible.
407.
420. to it. Fancy teethe.
421. Reading this language itself
422. gratuitous. Please
423.
64. please me. The coming
465. moment, in the best way of
466. phrases could allow.
467.
480. most separation.
481. A fragmented, excessive
482. and pleasure. To think
483.
488. and pleasure. To think
489. it with decision. Very
490. resistant. And so
491.
496. prosthetically
497. with long-distance voices. Dream
498. for making reading
499.
500. long-distance voices.
501. Dream for making reading with
502. its speedings up and
503.
504. making reading with
505. its speedings up and delays
506. unavoidable,
507.
508. The surfaces of
509. self-reference, slipping
510. and sliding beneath
511.
512. self-reference,
513. slipping and sliding beneath
514. the priority.
515.
524. What replaces it
525. operates in the best way
526. of language engage
527.
528. operates in the
529. best way of language engage
530. their signifying
531.
532. best way of language
533. engage their signifying
534. prison-house is so
535.
536. language engage their
537. signifying prison-house
538. is so gay. We get
539.
540. their signifying
541. prison-house is so gay. We
542. get charismatic
543.
544. transporting, or the
545. commodifying aspects are
546. too big to please. If
547.
548. please. If the place of
549. normative judgement It's not
550. compensatory.
551.
572. architecture of
573. theatrical presence. I
574. am really surprised.
575.
588. it, makes a door. It
589. materializes the
590. disappearing acts
591.
700. meanings we become
701. the most reasonableness
702. the priority.
703.
704. that he is length when
705. phenomenology can't
706. get charismatic
707.
708. compensation. But
709. here, the level of impact
710. shatters our nerves.
711.
760. a great pleasure. The
761. sensational creams the ground.
762. And nor can fasten
763.
780. elements, but at
781. the edge of phrases could claim.
782. Please to please. Pleasure
783.
784. but at the edge of
785. phrases could claim. Please to please.
786. Pleasure to be told.
787.
792. edge of phrases could
793. claim. Please to please. Pleasure to
794. be told. It's an MRI.
795.
828. ferociousness or
829. ever-receding presence.
830. This is not the same,
831.
852. agitator both
853. in all its original
854. context. The text's flux
855.
856. context. The text's flux
857. of language is drastically
858. desublimating.
859.
860. show. Possessiveness
861. gets disempowered. Things
862. are a frightful tease.
863.
864. Things are a frightful
865. tease. Instigating affects
866. unavailable
867.
868. and surrounded and
869. the hurry in actual
870. plenty in plenty
871.
872. plenty in plenty
873. the most meditation the
874. juxtapositions
875.
876. most meditation
877. the juxtapositions are
878. downplayed. it not more
879.
880. downplayed. it not more
881. like bodily turbulence
882. of language engage
883.
884. No longer routed
885. through normative syntax, they
886. have heaps of reading
887.
896. language engage their
897. signifying prison-house
898. is it not looking
899.
920. police, can't contain
921. these texts for making reading
922. unfixes the words,
923.
928. apprehensions and
929. immediacy. I do
930. excite, excite how
931.
932. do excite, excite
933. how do The coming moment,
934. in the written words
935.
936. excite, excite how
937. do The coming moment, in
938. the written words and
939.
940. coming moment, in
941. the written words and fragments
942. of abject kicks. The
943.
944. in the written words
945. and fragments of abject kicks.
946. The prior context,
947.
948. The prior context,
949. neatly regulated by
950. harmony. Thank you
951.
972. carries us with its
973. measured classroom distance. This
974. is so windowful.
975.
996. The cause of Mrs.
997. Andrews as the device. This
998. is so windowful.
999.
1004. as the device. This
1005. is so windowful. When no
1006. escape possible.
1007.
1020. a more many more
1021. mimetic, duplicating
1022. the social address
1023.
1024. words and again and
1025. activated or at least
1026. impossible to
1027.
1028. and activated
1029. or at least impossible
1030. to it. To be next
1031.
1032. activated or
1033. at least impossible to
1034. it. To be next to
1035.
1036. least impossible
1037. to it. To be next to be
1038. excellently well.
1039.
1100. we resist. Our
1101. participation is not
1102. the idealism
1103.
1104. participation
1105. is not the idealism
1106. of the text Presence
1107.
1108. the idealism
1109. of the text Presence isn't
1110. simulacral and
1111.
1112. of the text Presence
1113. isn't simulacral and
1114. precluding the force
1115.
1116. micro level or
1117. radioactivated
1118. once the language is
1119.
1120. the language is an
1121. extraordinary mixture.
1122. I am impatient.
1123.
1128. I am impatient.
1129. Please to please. Pleasure to it.
1130. Fancy teethe. Reading
1131.
1132. impatient. Please to
1133. please. Pleasure to it. Fancy
1134. teethe. Reading To think
1135.
1136. to please. Pleasure to
1137. it. Fancy teethe. Reading To
1138. think there is very
1139.
1140. nearly the extremes
1141. or postsubjective. We're
1142. too quicksilver to
1143.
1144. postsubjective.
1145. We're too quicksilver to please.
1146. Pleasure to us as
1147.
1148. We're too quicksilver
1149. to please. Pleasure to us as
1150. pleasant as pleasant
1151.
1152. to please. Pleasure to
1153. us as pleasant as pleasant
1154. as coming again
1155.
1156. please. Pleasure to us
1157. as pleasant as pleasant as
1158. coming again and
1159.
1160. us as pleasant as
1161. pleasant as coming again
1162. and again is not
1163.
1164. coming again and
1165. again is not more lively.
1166. I Lessons. I. Leave
1167.
1168. and again is not
1169. more lively. I Lessons. I.
1170. Leave I lessons, I.
1171.
1172. not more lively. I
1173. Lessons. I. Leave I lessons,
1174. I. Listen to help
1175.
1176. Lessons. I. Leave I
1177. lessons, I. Listen to help
1178. us as the bundlings
1179.
1180. as the bundlings of
1181. disidentifications.
1182. I believe in the
1183.
1184. in the best way. the
1185. possible universes
1186. of reading. Read me
1187.
1188. way. the possible
1189. universes of reading.
1190. Read me easily.
1191.
1284. Do you find pleasure
1285. A fragmented, excessive
1286. and the humbleness
1287.
1288. you find pleasure A
1289. fragmented, excessive and
1290. the humbleness and
1291.
1292. me express about
1293. extravagance. Bodily
1294. excitation, with
1295.
1296. isn't reading with
1297. its discursive police, can't
1298. contain these glancing
1299.
1300. discursive police,
1301. can't contain these glancing blows
1302. and precluding the
1303.
1304. contain these glancing
1305. blows and precluding the text's,
1306. and ours is not
1307.
1308. blows and precluding
1309. the text's, and ours is not
1310. as the prosthesis
1311.
1312. precluding the text's,
1313. and ours is not as the
1314. prosthesis Reading:
1315.
1316. and ours is not
1317. as the prosthesis Reading:
1318. Not ego-centric.
1319.
1332. plenty in action,
1333. where we could allow. It is
1334. a language almost
1335.
1336. where we could allow.
1337. It is a language almost
1338. beyond linguistics.
1339.
1380. like visual or
1381. ever-receding presence.
1382. This isn't reading
1383.
1384. ever-receding
1385. presence. This isn't reading
1386. Stein, the overall
1387.
1388. presence. This isn't
1389. reading Stein, the overall
1390. threshold level of
1391.
1392. individual
1393. reference and overall
1394. subject-matter get
1395.
1396. in the words, with the
1397. trappings of reading language.
1398. To unmind us The
1399.
1400. with the trappings of
1401. reading language. To unmind
1402. us The comforting
1403.
1404. trappings of reading
1405. language. To unmind us The
1406. comforting frames of
1407.
1408. reading language. To
1409. unmind us The comforting
1410. frames of personal
1411.
1412. The comforting frames
1413. of personal mastery.
1414. In my surprise I
1415.
1416. comforting frames of
1417. personal mastery. In
1418. my surprise I shall
1419.
1420. frames of personal
1421. mastery. In my surprise
1422. I shall stammer. A
1423.
1424. like visual or
1425. in the metamorphoses
1426. of relation, the
1427.
1428. of relation, the
1429. regulating grounds explode
1430. in reading Stein, the
1431.
1432. the regulating
1433. grounds explode in reading Stein,
1434. the extremes or in
1435.
1436. regulating grounds
1437. explode in reading Stein, the
1438. extremes or in the
1439.
1440. explode in reading
1441. Stein, the extremes or in the
1442. text. Believe two names.
1443.
1472. we think. Four and in
1473. the priority. What a
1474. system in voices.
1475.
1476. the appearance or
1477. requiem memory-trace
1478. of the text Believe
1479.
1480. of the text Believe
1481. two names. Decoding us, the
1482. exceptions, what we
1483.
1484. two names. Decoding
1485. us, the exceptions, what we
1486. already changed. We
1487.
1488. us, the exceptions,
1489. what we already changed. We
1490. don't go to be told.
1491.
1524. materially
1525. literalizing our
1526. apprehensions and
1527.
1528. literalizing
1529. our apprehensions and
1530. phrases turned into
1531.
1532. force, its promising
1533. electoral chances. and
1534. signification
1535.
Sunday, June 3, 2007
Saturday, June 2, 2007
A language engage
Gertrude Stein [wood s lot]
A language engage their own referential excesses.
No longer routed through normative syntax, they undercut our devices — or for Absence.
I was restless.
We have been redistricted out of control.
The machinery of connections, the flesh, not more lively.
I saw an inside, not compensatory for cognitive processing, we think.
Four and activated or surprise, is any need to sell short.
then comes the meanings we been nervous specialists.
And nor can a detached purely scholarly appreciation.
The pleasures it Without alibi.
Now we make a rejoinder.
I Lessons.
I.
Leave I.
Lessons.
I.
Leave I.
Lessons.
I.
Leave eye lessons I.
Listen to even more many many many more.
I saw an experiential impact, a rejoinder.
I did not in clocks...
blessing instead of after-effects.
I do excite, excite we excite, how do we think.
Four and after that he is astonishing.
And a substitution.
Words have resisted that excellently well.
Signs usually stabilized by the explosiveness or surprise, is so gay.
We become — like to be excellently searching.
Even if the idealism of the cravings of you by hard-to-track voicings.
Any voice is an inside, not back down to help us The comforting frames of significance the most activity the prosthesis of significance the 'positive' powers of a Real, not back down to please.
Pleasure to give pleasure.
Have we make mischief.
Doing away A near-automatism of an excitement is this, the juxtapositions are there different ways of the flesh.
A synapse-centered reading I like the language tries to the metamorphoses of preemptively physical sense, reading unfixes the figures or sacrificial strangeness of the flesh, not not no.
Reconcile is a plain case of imagining ourselves or our senses helps to make mischief.
Doing away with illusions of reference we been loyal to give pleasure.
Have we been loyal to please.
Do please me.
The text's social address: Its not about extravagance.
Bodily excitation, with the trappings of the force of words is productive, affirmative, transformative.
The machinery of time.
Urgent action where the physiological rambunctiousness of grammar and pleasure.
To unmind us — with the trappings of affectiveness that is drastically desublimating.
I lessons, I.
Listen to notice noise.
Its an anti-overhearing.
Instead of genre and also permit me say that has always teetering on us, sounds and resounds us, unmediatedly itself, publicly.
and intimated and also permit me express about the historical contextualizations irrelevant.
and coming again and coming moment, in plenty of personal mastery.
In dreaming of the sign but at a safe, systematizing translation of language engage their own referential excesses.
No longer the priority.
What replaces it happened in the weird.
Our possessive gaze has been loyal to say chopping.
We get more many many many more, and many more many more I did surprised me.
We're not more lively.
I have resisted I have prejudices against voices.
We're too intimidated and delays unavoidable, or the exceptions, what a system in voices.
Interiority becomes a hedged bet, an experiential impact, a language almost beyond linguistics.
We're not the same, You are not the surface — and coming again and again is not not no.
Reconcile is an inside, not volunteering for the meaning of perspective, once their 'pointing function' gives us a physical immediacy that replaces it is not as compensation.
But here, the aura, communing with long-distance voices.
Dream for making reading unfixes the written words and fragments of establishing where there is not a safe, systematizing translation of entirely.
are not the written words back into its affective arms, not extended prosthetically with no escape possible.
To think it makes us situate ourselves Now no escape possible.
To be annexed to it.
Fancy teethe.
Reading this language itself — gratuitous.
Please be restless.
I meant to help them be centered, but as extension.
I do hate sentences.
Do please me.
The coming moment, in the best way of phrases could allow.
It puts it not more mimetic, duplicating the most separation.
A fragmented, excessive and pleasure.
To think it with decision.
Very resistant.
And so we become the most plenty of time.
Urgent action is not extended prosthetically with long-distance voices.
Dream for making reading with its speedings up and delays unavoidable, or in the usual theatrical perspective.
We're caught up, compulsively.
The surfaces of self-reference, slipping and sliding beneath the priority.
What replaces it operates in the best way of language engage their signifying prison-house is so gay.
We get charismatic presences that aren't transporting, or the commodifying aspects are too big to please.
If the place of normative judgement It's not compensatory.
Readers don't peform some reliably signifying structure.
It positively disarticulates us.
It positively disarticulates us.
It is astonishing.
And nor can fasten on us, sounds and resounds us, unmediatedly itself, publicly.
and narrative and precluding the aura, communing with the vulnerabilities of normative judgement and adjustment.
In dreaming of the larger architecture of theatrical presence.
I am really surprised.
Self-confirmation or maybe at the level — or maybe at the overall subject-matter get pleasure's rollercoaster ride, a physical immediacy that replaces it, makes a door.
It materializes the disappearing acts of the text Believe two names.
Decoding us, the historical positioning of words back and forth navigations of self-collapse, debasement, abjection.
Shall I did not lonesome.
It involves a technology for long.
They get directly under our skin.
a detached purely scholarly appreciation.
The materiality of discourse and again is to say chopping.
We become — like bodily contagion.
Our possessive gaze could allow.
It involves a physical immediacy in the sign.
Length what a system in voices, what we already changed.
We don't go to be told.
It's an MRI.
Identifications aren't readily available, certainly not compensatory for drilling.
Information drilling, database navigation: Notably notably reading.
I Listen to moisten rapid repetition with illusions of the flesh.
A fragmented, excessive and to please.
If the humbleness and again is very nearly the text works to confront us It adds to please.
If the meanings we become the most reasonableness the priority.
What replaces it operates on the edge of disidentifications.
I can forgive that he is length when phenomenology can't get charismatic presences as compensation.
But here, the level of impact shatters our nerves.
We get a bodily turbulence — of affectiveness that is drastically desublimating.
I am losing my individuality.
It opens out.
Widening putty is discombobulated by tactile, visceral experience.
We get an outside, agitator — both in the aura, communing with no escape possible.
To stoke the text.
Believe two names.
Decoding us, the syntax.
Facing this language calls for comfort and narrative and forth navigations of unifying phantasmatic gifts.
I don't think there is a great pleasure.
The sensational creams the ground.
And nor can fasten on the tiniest elements, but at the edge of phrases could claim.
Please to please.
Pleasure to be told.
It's an MRI.
Identifications aren't readily available, certainly not extended prosthetically with its measured classroom distance.
This makes reading Stein, the most calamity and intimated and after that anchor.
Maybe our own vantage of the flesh, not extended prosthetically with illusions of imagining ourselves as a tactile ferociousness or ever-receding presence.
This is not the same, You are the scene that they were alone.
What a system in voices.
Interiority becomes a hedged bet, an experiential impact, a Real, not an outside, agitator — both in all its original context.
The text's flux of language is drastically desublimating.
I like to concoct an over show.
Possessiveness gets disempowered.
Things are a frightful tease.
Instigating affects unavailable for me.
In my surprise I shall stammer.
A synapse-centered reading the surface and surrounded and the hurry in actual plenty in plenty the most meditation the juxtapositions are downplayed.
it not more like bodily turbulence — of language engage their own referential excesses.
No longer routed through normative syntax, they have heaps of reading the usual seats of language engage their signifying prison-house is it not looking through from the text works out of entirely.
are downplayed.
it sound.
How does it is the historical positioning of genre and immediacy.
I like to shake And nor can fasten on the surface and surrounded and offers its discursive police, can't contain these texts for making reading unfixes the words, with the trappings of naturalness, without nodding our apprehensions and immediacy.
I do excite, excite how do The coming moment, in the written words and fragments of abject kicks.
The prior context, neatly regulated by harmony.
Thank you did surprised me.
We're not long for an intoxifying proximity.
Aren't its explosiveness or evaluation of Mrs.
Andrews as a result of sensation carries us — with its measured classroom distance.
This is so windowful.
When no systematizing translation of the temporality, makes it fluid — open to concoct an irrational contagion than a rational, architecturable distance.
The cause of Mrs.
Andrews as the device.
This is so windowful.
When no escape possible.
To unmind us It opens out.
Widening putty is so windowful.
When no systematizing translation And under a more many more mimetic, duplicating the social address which individual words and again and activated or at least impossible to it.
To be next to be excellently well.
Signs usually deploy get shaken up by a vista of tiny specifics are happening too close for criticism or in the flesh.
A radical immediacy I went faster.
Indeed indeed we construct are multiplication tables, materially literalizing our enthusiasm and pleasure.
To be annexed To be ourselves.
Now no more direct control than any need to shake And so we resist.
Our participation is not the idealism of the text Presence isn't simulacral and precluding the force of the flesh.
A self-disabling complicity undermines any need to assure you by being remanaged.
splendidly ambidextrous.
Dealing in the written words don't take the micro level — or radioactivated once the language is an extraordinary mixture.
I am impatient.
Please to please.
Pleasure to it.
Fancy teethe.
Reading To think there is very nearly the extremes or postsubjective.
We're too quicksilver to please.
Pleasure to us as pleasant as pleasant as coming again and again is not more lively.
I Lessons.
I.
Leave I lessons, I.
Listen to help us as the bundlings of disidentifications.
I believe in the best way.
the possible universes of reading.
Read me easily.
have resisted.
I have resisted that excellently well.
Signs usually stabilized by surprise, haunted by tactile, visceral experience.
We don't go to resemble a nervous feeling We honor its idealized presences that aren't transporting, or at least impossible to us as the device.
This is more literal.
The text's flux of control.
The text's flux of reading language.
To unmind us — with the trappings of genre and nobody talkative, eight and immediacy.
I fastened it on the vulnerabilities of discourse and surrounded and nobody talkative, eight and signification are there different ways of theatrical presence.
I like to some reliably signifying structure.
It puts it fluid — open to offer an excitement is built into vectors of naturalness, without nodding our 'selves' aren't as interior as the prosthesis Reading: Not to honor the past Do you find pleasure A fragmented, excessive and the humbleness and also permit me express about extravagance.
Bodily excitation, with the vulnerabilities of sensation carries us directly.
This isn't reading with its discursive police, can't contain these glancing blows and precluding the text's, and ours — is not as the prosthesis Reading: Not ego-centric.
Not to honor its actual plenty in action, where we could allow.
It is a language almost beyond linguistics.
We're not about the most pleasure To be excellently seized.
Paralysis why is it has tiny things to our enthusiasm and adjustment.
In my surprise I shall choose wonder.
The surfaces of re-editing worlds.
We get more like visual or ever-receding presence.
This isn't reading Stein, the overall threshold level of individual reference and overall subject-matter get off the scene that deterritorializes or in the words, with the trappings of reading language.
To unmind us The comforting frames of personal mastery.
In my surprise I shall stammer.
A synapse-centered reading I like visual or in the metamorphoses of relation, the regulating grounds explode in reading Stein, the extremes or in the text.
Believe two names.
Decoding us, the 'positive' powers of a system in recognition.
We honor its promising electoral chances.
and illusionary.
It's a bodily turbulence — of sensation, a lot of Mrs.
Andrews as we think.
Four and in the priority.
What a system in voices.
Interiority becomes the fragilest of theatrical presence.
I did not the appearance or requiem memory-trace of the text Believe two names.
Decoding us, the exceptions, what we already changed.
We don't go to be told.
It's an unmediated picture or exceeds us.
It is a safe, systematizing translation of the juxtapositions are happening too close for long.
They are multiplication tables, materially literalizing our apprehensions and phrases turned into their signifying works out of its force, its promising electoral chances.
and signification ...
No longer routed through normative syntax, they undercut our devices — or for Absence.
I was restless.
We have been redistricted out of control.
The machinery of connections, the flesh, not more lively.
I saw an inside, not compensatory for cognitive processing, we think.
Four and activated or surprise, is any need to sell short.
then comes the meanings we been nervous specialists.
And nor can a detached purely scholarly appreciation.
The pleasures it Without alibi.
Now we make a rejoinder.
I Lessons.
I.
Leave I.
Lessons.
I.
Leave I.
Lessons.
I.
Leave eye lessons I.
Listen to even more many many many more.
I saw an experiential impact, a rejoinder.
I did not in clocks...
blessing instead of after-effects.
I do excite, excite we excite, how do we think.
Four and after that he is astonishing.
And a substitution.
Words have resisted that excellently well.
Signs usually stabilized by the explosiveness or surprise, is so gay.
We become — like to be excellently searching.
Even if the idealism of the cravings of you by hard-to-track voicings.
Any voice is an inside, not back down to help us The comforting frames of significance the most activity the prosthesis of significance the 'positive' powers of a Real, not back down to please.
Pleasure to give pleasure.
Have we make mischief.
Doing away A near-automatism of an excitement is this, the juxtapositions are there different ways of the flesh.
A synapse-centered reading I like the language tries to the metamorphoses of preemptively physical sense, reading unfixes the figures or sacrificial strangeness of the flesh, not not no.
Reconcile is a plain case of imagining ourselves or our senses helps to make mischief.
Doing away with illusions of reference we been loyal to give pleasure.
Have we been loyal to please.
Do please me.
The text's social address: Its not about extravagance.
Bodily excitation, with the trappings of the force of words is productive, affirmative, transformative.
The machinery of time.
Urgent action where the physiological rambunctiousness of grammar and pleasure.
To unmind us — with the trappings of affectiveness that is drastically desublimating.
I lessons, I.
Listen to notice noise.
Its an anti-overhearing.
Instead of genre and also permit me say that has always teetering on us, sounds and resounds us, unmediatedly itself, publicly.
and intimated and also permit me express about the historical contextualizations irrelevant.
and coming again and coming moment, in plenty of personal mastery.
In dreaming of the sign but at a safe, systematizing translation of language engage their own referential excesses.
No longer the priority.
What replaces it happened in the weird.
Our possessive gaze has been loyal to say chopping.
We get more many many many more, and many more many more I did surprised me.
We're not more lively.
I have resisted I have prejudices against voices.
We're too intimidated and delays unavoidable, or the exceptions, what a system in voices.
Interiority becomes a hedged bet, an experiential impact, a language almost beyond linguistics.
We're not the same, You are not the surface — and coming again and again is not not no.
Reconcile is an inside, not volunteering for the meaning of perspective, once their 'pointing function' gives us a physical immediacy that replaces it is not as compensation.
But here, the aura, communing with long-distance voices.
Dream for making reading unfixes the written words and fragments of establishing where there is not a safe, systematizing translation of entirely.
are not the written words back into its affective arms, not extended prosthetically with no escape possible.
To think it makes us situate ourselves Now no escape possible.
To be annexed to it.
Fancy teethe.
Reading this language itself — gratuitous.
Please be restless.
I meant to help them be centered, but as extension.
I do hate sentences.
Do please me.
The coming moment, in the best way of phrases could allow.
It puts it not more mimetic, duplicating the most separation.
A fragmented, excessive and pleasure.
To think it with decision.
Very resistant.
And so we become the most plenty of time.
Urgent action is not extended prosthetically with long-distance voices.
Dream for making reading with its speedings up and delays unavoidable, or in the usual theatrical perspective.
We're caught up, compulsively.
The surfaces of self-reference, slipping and sliding beneath the priority.
What replaces it operates in the best way of language engage their signifying prison-house is so gay.
We get charismatic presences that aren't transporting, or the commodifying aspects are too big to please.
If the place of normative judgement It's not compensatory.
Readers don't peform some reliably signifying structure.
It positively disarticulates us.
It positively disarticulates us.
It is astonishing.
And nor can fasten on us, sounds and resounds us, unmediatedly itself, publicly.
and narrative and precluding the aura, communing with the vulnerabilities of normative judgement and adjustment.
In dreaming of the larger architecture of theatrical presence.
I am really surprised.
Self-confirmation or maybe at the level — or maybe at the overall subject-matter get pleasure's rollercoaster ride, a physical immediacy that replaces it, makes a door.
It materializes the disappearing acts of the text Believe two names.
Decoding us, the historical positioning of words back and forth navigations of self-collapse, debasement, abjection.
Shall I did not lonesome.
It involves a technology for long.
They get directly under our skin.
a detached purely scholarly appreciation.
The materiality of discourse and again is to say chopping.
We become — like bodily contagion.
Our possessive gaze could allow.
It involves a physical immediacy in the sign.
Length what a system in voices, what we already changed.
We don't go to be told.
It's an MRI.
Identifications aren't readily available, certainly not compensatory for drilling.
Information drilling, database navigation: Notably notably reading.
I Listen to moisten rapid repetition with illusions of the flesh.
A fragmented, excessive and to please.
If the humbleness and again is very nearly the text works to confront us It adds to please.
If the meanings we become the most reasonableness the priority.
What replaces it operates on the edge of disidentifications.
I can forgive that he is length when phenomenology can't get charismatic presences as compensation.
But here, the level of impact shatters our nerves.
We get a bodily turbulence — of affectiveness that is drastically desublimating.
I am losing my individuality.
It opens out.
Widening putty is discombobulated by tactile, visceral experience.
We get an outside, agitator — both in the aura, communing with no escape possible.
To stoke the text.
Believe two names.
Decoding us, the syntax.
Facing this language calls for comfort and narrative and forth navigations of unifying phantasmatic gifts.
I don't think there is a great pleasure.
The sensational creams the ground.
And nor can fasten on the tiniest elements, but at the edge of phrases could claim.
Please to please.
Pleasure to be told.
It's an MRI.
Identifications aren't readily available, certainly not extended prosthetically with its measured classroom distance.
This makes reading Stein, the most calamity and intimated and after that anchor.
Maybe our own vantage of the flesh, not extended prosthetically with illusions of imagining ourselves as a tactile ferociousness or ever-receding presence.
This is not the same, You are the scene that they were alone.
What a system in voices.
Interiority becomes a hedged bet, an experiential impact, a Real, not an outside, agitator — both in all its original context.
The text's flux of language is drastically desublimating.
I like to concoct an over show.
Possessiveness gets disempowered.
Things are a frightful tease.
Instigating affects unavailable for me.
In my surprise I shall stammer.
A synapse-centered reading the surface and surrounded and the hurry in actual plenty in plenty the most meditation the juxtapositions are downplayed.
it not more like bodily turbulence — of language engage their own referential excesses.
No longer routed through normative syntax, they have heaps of reading the usual seats of language engage their signifying prison-house is it not looking through from the text works out of entirely.
are downplayed.
it sound.
How does it is the historical positioning of genre and immediacy.
I like to shake And nor can fasten on the surface and surrounded and offers its discursive police, can't contain these texts for making reading unfixes the words, with the trappings of naturalness, without nodding our apprehensions and immediacy.
I do excite, excite how do The coming moment, in the written words and fragments of abject kicks.
The prior context, neatly regulated by harmony.
Thank you did surprised me.
We're not long for an intoxifying proximity.
Aren't its explosiveness or evaluation of Mrs.
Andrews as a result of sensation carries us — with its measured classroom distance.
This is so windowful.
When no systematizing translation of the temporality, makes it fluid — open to concoct an irrational contagion than a rational, architecturable distance.
The cause of Mrs.
Andrews as the device.
This is so windowful.
When no escape possible.
To unmind us It opens out.
Widening putty is so windowful.
When no systematizing translation And under a more many more mimetic, duplicating the social address which individual words and again and activated or at least impossible to it.
To be next to be excellently well.
Signs usually deploy get shaken up by a vista of tiny specifics are happening too close for criticism or in the flesh.
A radical immediacy I went faster.
Indeed indeed we construct are multiplication tables, materially literalizing our enthusiasm and pleasure.
To be annexed To be ourselves.
Now no more direct control than any need to shake And so we resist.
Our participation is not the idealism of the text Presence isn't simulacral and precluding the force of the flesh.
A self-disabling complicity undermines any need to assure you by being remanaged.
splendidly ambidextrous.
Dealing in the written words don't take the micro level — or radioactivated once the language is an extraordinary mixture.
I am impatient.
Please to please.
Pleasure to it.
Fancy teethe.
Reading To think there is very nearly the extremes or postsubjective.
We're too quicksilver to please.
Pleasure to us as pleasant as pleasant as coming again and again is not more lively.
I Lessons.
I.
Leave I lessons, I.
Listen to help us as the bundlings of disidentifications.
I believe in the best way.
the possible universes of reading.
Read me easily.
have resisted.
I have resisted that excellently well.
Signs usually stabilized by surprise, haunted by tactile, visceral experience.
We don't go to resemble a nervous feeling We honor its idealized presences that aren't transporting, or at least impossible to us as the device.
This is more literal.
The text's flux of control.
The text's flux of reading language.
To unmind us — with the trappings of genre and nobody talkative, eight and immediacy.
I fastened it on the vulnerabilities of discourse and surrounded and nobody talkative, eight and signification are there different ways of theatrical presence.
I like to some reliably signifying structure.
It puts it fluid — open to offer an excitement is built into vectors of naturalness, without nodding our 'selves' aren't as interior as the prosthesis Reading: Not to honor the past Do you find pleasure A fragmented, excessive and the humbleness and also permit me express about extravagance.
Bodily excitation, with the vulnerabilities of sensation carries us directly.
This isn't reading with its discursive police, can't contain these glancing blows and precluding the text's, and ours — is not as the prosthesis Reading: Not ego-centric.
Not to honor its actual plenty in action, where we could allow.
It is a language almost beyond linguistics.
We're not about the most pleasure To be excellently seized.
Paralysis why is it has tiny things to our enthusiasm and adjustment.
In my surprise I shall choose wonder.
The surfaces of re-editing worlds.
We get more like visual or ever-receding presence.
This isn't reading Stein, the overall threshold level of individual reference and overall subject-matter get off the scene that deterritorializes or in the words, with the trappings of reading language.
To unmind us The comforting frames of personal mastery.
In my surprise I shall stammer.
A synapse-centered reading I like visual or in the metamorphoses of relation, the regulating grounds explode in reading Stein, the extremes or in the text.
Believe two names.
Decoding us, the 'positive' powers of a system in recognition.
We honor its promising electoral chances.
and illusionary.
It's a bodily turbulence — of sensation, a lot of Mrs.
Andrews as we think.
Four and in the priority.
What a system in voices.
Interiority becomes the fragilest of theatrical presence.
I did not the appearance or requiem memory-trace of the text Believe two names.
Decoding us, the exceptions, what we already changed.
We don't go to be told.
It's an unmediated picture or exceeds us.
It is a safe, systematizing translation of the juxtapositions are happening too close for long.
They are multiplication tables, materially literalizing our apprehensions and phrases turned into their signifying works out of its force, its promising electoral chances.
and signification ...
Tags:
Saturday, May 26, 2007
Sleepers, numb nudge
Roethke
0. If only I could
1. nudge you from this sleep, Sleepers,
2. numb nudgers in cold
3.
4. I could nudge you from
5. this sleep, Sleepers, numb nudgers
6. in cold dimensions,.
7.
8. nudge you from this sleep,
9. Sleepers, numb nudgers in cold
10. dimensions,. Beetles
11.
12. this sleep, Sleepers, numb
13. nudgers in cold dimensions,.
14. Beetles in caves, newts,
15.
16. caves, newts, stone-deaf
17. fishes, Threats nudge an act that
18. were without doubt. A
19.
20. fishes, Threats nudge an
21. act that were without doubt. A
22. melting of the mould
23.
24. Threats nudge an act that
25. were without doubt. A melting
26. of the mould in the
27.
28. act that were without
29. doubt. A melting of the mould
30. in the mother, Like
31.
32. that were without doubt.
33. A melting of the mould in
34. the mother, Like a
35.
36. doubt. A melting of
37. the mould in the mother, Like
38. a chuckle in a
39.
40. of the mould in the
41. mother, Like a chuckle in
42. a sleeper. The hare
43.
44. in the mother, Like
45. a chuckle in a sleeper.
46. The hare strays down the
47.
48. The hare strays down the
49. highway Comfortably Numb
50. at the Club Soda
51.
52. the Club Soda Last
53. Friday, May LOL) along with
54. Oliver Wakeman,
55.
56. them into doing
57. a little performance but
58. alas, A simple
59.
60. doing a little
61. performance but alas, A
62. simple nudge of the
63.
64. little performance
65. but alas, A simple nudge
66. of the gas, and the
67.
68. A simple nudge of
69. the gas, and the perfectly
70. synchronized turbos
71.
72. nudge of the gas, and
73. the perfectly synchronized
74. turbos generate
75.
76. synchronized turbos
77. generate a Its nearly
78. perfect steering feel
79.
80. Its nearly perfect
81. steering feel makes just about
82. anything feel numb,
83.
84. perfect steering feel
85. makes just about anything
86. feel numb, A simple
87.
88. steering feel makes just
89. about anything feel numb,
90. A simple nudge of
91.
92. anything feel numb,
93. A simple nudge of the gas,
94. and the perfectly
95.
96. A simple nudge of
97. the gas, and the perfectly
98. synchronized turbos
99.
100. nudge of the gas, and
101. the perfectly synchronized
102. turbos generate
103.
104. synchronized turbos
105. generate a Its nearly
106. perfect steering feel
107.
108. Its nearly perfect
109. steering feel makes just about
110. anything feel numb,
111.
112. steering feel makes just
113. about anything feel numb,
114. like a refugee
115.
116. about anything
117. feel numb, like a refugee
118. camp sleeper tent to
119.
120. quality makes each
121. piece read like a poetic
122. Of course, I would sleep
123.
124. like a poetic
125. Of course, I would sleep on the
126. co-sleeper side of
127.
128. Of course, I would sleep
129. on the co-sleeper side of
130. the bed, my side of
131.
132. course, I would sleep on
133. the co-sleeper side of the
134. bed, my side of the
135.
136. I would sleep on the
137. co-sleeper side of the bed,
138. my side of the bed,
139.
140. on the co-sleeper
141. side of the bed, my side of
142. the bed, Since I had
143.
144. the co-sleeper side
145. of the bed, my side of the
146. bed, Since I had been
147.
148. co-sleeper side of
149. the bed, my side of the bed,
150. Since I had been numb
151.
152. bed, my side of the
153. bed, Since I had been numb from
154. an epidural
155.
156. bed, Since I had been
157. numb from an epidural
158. during Mimosa?s
159.
160. I had been numb from
161. an epidural during
162. Mimosa?s crowning,
163.
164. an epidural
165. during Mimosa?s crowning,
166. I have had all these
167.
168. during Mimosa?s
169. crowning, I have had all these
170. symptoms except the
171.
172. Mimosa?s crowning,
173. I have had all these symptoms
174. except the numbness
175.
176. crowning, I have had
177. all these symptoms except the
178. numbness on one side,
179.
180. I have had all these
181. symptoms except the numbness
182. on one side, to walk
183.
184. had all these symptoms
185. except the numbness on one
186. side, to walk he looks
187.
188. these symptoms except
189. the numbness on one side, to
190. walk he looks at me
191.
192. symptoms except the
193. numbness on one side, to walk
194. he looks at me with
195.
196. except the numbness
197. on one side, to walk he looks
198. at me with those huge
199.
200. the numbness on one
201. side, to walk he looks at me
202. with those huge brown eyes,
203.
204. numbness on one side,
205. to walk he looks at me with
206. those huge brown eyes, gives
207.
208. on one side, to walk
209. he looks at me with those huge
210. brown eyes, gives me a
211.
212. one side, to walk he
213. looks at me with those huge brown
214. eyes, gives me a nudge
215.
216. side, to walk he looks
217. at me with those huge brown eyes,
218. gives me a nudge and
219.
220. to walk he looks at
221. me with those huge brown eyes, gives
222. me a nudge and off
223.
224. walk he looks at me
225. with those huge brown eyes, gives me
226. a nudge and off we
227.
228. he looks at me with
229. those huge brown eyes, gives me a
230. nudge and off we go.
231.
232. looks at me with those
233. huge brown eyes, gives me a nudge
234. and off we go. Numb,
235.
236. at me with those huge
237. brown eyes, gives me a nudge and
238. off we go. Numb, Good
239.
240. me with those huge brown
241. eyes, gives me a nudge and off
242. we go. Numb, Good Time
243.
244. with those huge brown eyes,
245. gives me a nudge and off we
246. go. Numb, Good Time Max,
247.
248. those huge brown eyes, gives
249. me a nudge and off we go.
250. Numb, Good Time Max, and
251.
252. huge brown eyes, gives me
253. a nudge and off we go. Numb,
254. Good Time Max, and In
255.
256. brown eyes, gives me a
257. nudge and off we go. Numb, Good
258. Time Max, and In Search
259.
260. eyes, gives me a nudge
261. and off we go. Numb, Good Time
262. Max, and In Search of
263.
264. gives me a nudge and
265. off we go. Numb, Good Time Max,
266. and In Search of a
267.
268. a nudge and off we
269. go. Numb, Good Time Max, and In
270. Search of a Midnight
271.
272. nudge and off we go.
273. Numb, Good Time Max, and In Search
274. of a Midnight Kiss
275.
276. and off we go. Numb,
277. Good Time Max, and In Search of
278. a Midnight Kiss all
279.
280. off we go. Numb, Good
281. Time Max, and In Search of a
282. Midnight Kiss all seemed
283.
284. go. Numb, Good Time Max,
285. and In Search of a Midnight
286. Kiss all seemed to have
287.
288. Numb, Good Time Max, and
289. In Search of a Midnight Kiss
290. all seemed to have a
291.
292. Good Time Max, and In
293. Search of a Midnight Kiss all
294. seemed to have a ?there
295.
296. Time Max, and In Search
297. of a Midnight Kiss all seemed
298. to have a ?there goes
299.
300. Max, and In Search of
301. a Midnight Kiss all seemed to
302. have a ?there goes the
303.
304. Search of a Midnight
305. Kiss all seemed to have a ?there
306. goes the neighborhood?
307.
308. of a Midnight Kiss
309. all seemed to have a ?there goes
310. the neighborhood? nudge
311.
312. a Midnight Kiss all
313. seemed to have a ?there goes the
314. neighborhood? nudge that
315.
316. seemed to have a ?there
317. goes the neighborhood? nudge that
318. indubitably
319.
320. neighborhood? nudge that
321. indubitably uses
322. the rat zombie as
323.
324. indubitably
325. uses the rat zombie as
326. Other balance tests
327.
328. as Other balance
329. tests while standing withstand a
330. gentle nudge on chest,
331.
332. while standing withstand
333. a gentle nudge on chest, see
334. bilat leg weakness
335.
336. withstand a gentle
337. nudge on chest, see bilat leg
338. weakness and numbness
339.
340. a gentle nudge on
341. chest, see bilat leg weakness
342. and numbness from the
343.
344. bilat leg weakness
345. and numbness from the level
346. of compression down.
347.
0. If only I could
1. nudge you from this sleep, Sleepers,
2. numb nudgers in cold
3.
4. I could nudge you from
5. this sleep, Sleepers, numb nudgers
6. in cold dimensions,.
7.
8. nudge you from this sleep,
9. Sleepers, numb nudgers in cold
10. dimensions,. Beetles
11.
12. this sleep, Sleepers, numb
13. nudgers in cold dimensions,.
14. Beetles in caves, newts,
15.
16. caves, newts, stone-deaf
17. fishes, Threats nudge an act that
18. were without doubt. A
19.
20. fishes, Threats nudge an
21. act that were without doubt. A
22. melting of the mould
23.
24. Threats nudge an act that
25. were without doubt. A melting
26. of the mould in the
27.
28. act that were without
29. doubt. A melting of the mould
30. in the mother, Like
31.
32. that were without doubt.
33. A melting of the mould in
34. the mother, Like a
35.
36. doubt. A melting of
37. the mould in the mother, Like
38. a chuckle in a
39.
40. of the mould in the
41. mother, Like a chuckle in
42. a sleeper. The hare
43.
44. in the mother, Like
45. a chuckle in a sleeper.
46. The hare strays down the
47.
48. The hare strays down the
49. highway Comfortably Numb
50. at the Club Soda
51.
52. the Club Soda Last
53. Friday, May LOL) along with
54. Oliver Wakeman,
55.
56. them into doing
57. a little performance but
58. alas, A simple
59.
60. doing a little
61. performance but alas, A
62. simple nudge of the
63.
64. little performance
65. but alas, A simple nudge
66. of the gas, and the
67.
68. A simple nudge of
69. the gas, and the perfectly
70. synchronized turbos
71.
72. nudge of the gas, and
73. the perfectly synchronized
74. turbos generate
75.
76. synchronized turbos
77. generate a Its nearly
78. perfect steering feel
79.
80. Its nearly perfect
81. steering feel makes just about
82. anything feel numb,
83.
84. perfect steering feel
85. makes just about anything
86. feel numb, A simple
87.
88. steering feel makes just
89. about anything feel numb,
90. A simple nudge of
91.
92. anything feel numb,
93. A simple nudge of the gas,
94. and the perfectly
95.
96. A simple nudge of
97. the gas, and the perfectly
98. synchronized turbos
99.
100. nudge of the gas, and
101. the perfectly synchronized
102. turbos generate
103.
104. synchronized turbos
105. generate a Its nearly
106. perfect steering feel
107.
108. Its nearly perfect
109. steering feel makes just about
110. anything feel numb,
111.
112. steering feel makes just
113. about anything feel numb,
114. like a refugee
115.
116. about anything
117. feel numb, like a refugee
118. camp sleeper tent to
119.
120. quality makes each
121. piece read like a poetic
122. Of course, I would sleep
123.
124. like a poetic
125. Of course, I would sleep on the
126. co-sleeper side of
127.
128. Of course, I would sleep
129. on the co-sleeper side of
130. the bed, my side of
131.
132. course, I would sleep on
133. the co-sleeper side of the
134. bed, my side of the
135.
136. I would sleep on the
137. co-sleeper side of the bed,
138. my side of the bed,
139.
140. on the co-sleeper
141. side of the bed, my side of
142. the bed, Since I had
143.
144. the co-sleeper side
145. of the bed, my side of the
146. bed, Since I had been
147.
148. co-sleeper side of
149. the bed, my side of the bed,
150. Since I had been numb
151.
152. bed, my side of the
153. bed, Since I had been numb from
154. an epidural
155.
156. bed, Since I had been
157. numb from an epidural
158. during Mimosa?s
159.
160. I had been numb from
161. an epidural during
162. Mimosa?s crowning,
163.
164. an epidural
165. during Mimosa?s crowning,
166. I have had all these
167.
168. during Mimosa?s
169. crowning, I have had all these
170. symptoms except the
171.
172. Mimosa?s crowning,
173. I have had all these symptoms
174. except the numbness
175.
176. crowning, I have had
177. all these symptoms except the
178. numbness on one side,
179.
180. I have had all these
181. symptoms except the numbness
182. on one side, to walk
183.
184. had all these symptoms
185. except the numbness on one
186. side, to walk he looks
187.
188. these symptoms except
189. the numbness on one side, to
190. walk he looks at me
191.
192. symptoms except the
193. numbness on one side, to walk
194. he looks at me with
195.
196. except the numbness
197. on one side, to walk he looks
198. at me with those huge
199.
200. the numbness on one
201. side, to walk he looks at me
202. with those huge brown eyes,
203.
204. numbness on one side,
205. to walk he looks at me with
206. those huge brown eyes, gives
207.
208. on one side, to walk
209. he looks at me with those huge
210. brown eyes, gives me a
211.
212. one side, to walk he
213. looks at me with those huge brown
214. eyes, gives me a nudge
215.
216. side, to walk he looks
217. at me with those huge brown eyes,
218. gives me a nudge and
219.
220. to walk he looks at
221. me with those huge brown eyes, gives
222. me a nudge and off
223.
224. walk he looks at me
225. with those huge brown eyes, gives me
226. a nudge and off we
227.
228. he looks at me with
229. those huge brown eyes, gives me a
230. nudge and off we go.
231.
232. looks at me with those
233. huge brown eyes, gives me a nudge
234. and off we go. Numb,
235.
236. at me with those huge
237. brown eyes, gives me a nudge and
238. off we go. Numb, Good
239.
240. me with those huge brown
241. eyes, gives me a nudge and off
242. we go. Numb, Good Time
243.
244. with those huge brown eyes,
245. gives me a nudge and off we
246. go. Numb, Good Time Max,
247.
248. those huge brown eyes, gives
249. me a nudge and off we go.
250. Numb, Good Time Max, and
251.
252. huge brown eyes, gives me
253. a nudge and off we go. Numb,
254. Good Time Max, and In
255.
256. brown eyes, gives me a
257. nudge and off we go. Numb, Good
258. Time Max, and In Search
259.
260. eyes, gives me a nudge
261. and off we go. Numb, Good Time
262. Max, and In Search of
263.
264. gives me a nudge and
265. off we go. Numb, Good Time Max,
266. and In Search of a
267.
268. a nudge and off we
269. go. Numb, Good Time Max, and In
270. Search of a Midnight
271.
272. nudge and off we go.
273. Numb, Good Time Max, and In Search
274. of a Midnight Kiss
275.
276. and off we go. Numb,
277. Good Time Max, and In Search of
278. a Midnight Kiss all
279.
280. off we go. Numb, Good
281. Time Max, and In Search of a
282. Midnight Kiss all seemed
283.
284. go. Numb, Good Time Max,
285. and In Search of a Midnight
286. Kiss all seemed to have
287.
288. Numb, Good Time Max, and
289. In Search of a Midnight Kiss
290. all seemed to have a
291.
292. Good Time Max, and In
293. Search of a Midnight Kiss all
294. seemed to have a ?there
295.
296. Time Max, and In Search
297. of a Midnight Kiss all seemed
298. to have a ?there goes
299.
300. Max, and In Search of
301. a Midnight Kiss all seemed to
302. have a ?there goes the
303.
304. Search of a Midnight
305. Kiss all seemed to have a ?there
306. goes the neighborhood?
307.
308. of a Midnight Kiss
309. all seemed to have a ?there goes
310. the neighborhood? nudge
311.
312. a Midnight Kiss all
313. seemed to have a ?there goes the
314. neighborhood? nudge that
315.
316. seemed to have a ?there
317. goes the neighborhood? nudge that
318. indubitably
319.
320. neighborhood? nudge that
321. indubitably uses
322. the rat zombie as
323.
324. indubitably
325. uses the rat zombie as
326. Other balance tests
327.
328. as Other balance
329. tests while standing withstand a
330. gentle nudge on chest,
331.
332. while standing withstand
333. a gentle nudge on chest, see
334. bilat leg weakness
335.
336. withstand a gentle
337. nudge on chest, see bilat leg
338. weakness and numbness
339.
340. a gentle nudge on
341. chest, see bilat leg weakness
342. and numbness from the
343.
344. bilat leg weakness
345. and numbness from the level
346. of compression down.
347.
Tags:
Wednesday, May 9, 2007
Even so, I have to seed out of Leevi's daughter
karri kokko
Even so, I have to seed out of Leevi's daughter, the poet also.
With a friend of libraries, the former shepherd’s images in no means automatic, and in no telling what’s become a Comment << Home About Me Name: Tom a great difficulties to a handful of the language all of course.
My Finnish had been good to raise social responsibilities, right there.
In fact, it’s hard for what it With the margin.
It didn’t make a profit for what it to do with a preservationist of personal choice and a tax payer.
The idea being, to his early Renaissance painter of his early fifties, I think what it to his early fifties, I eagerly picked up his early fifties, I consider exemplary or the value of Invention or philosophical concepts.
The last few of these people live as a poet also.
With a friend of excuses.
It is something that we have you want to our readers know who the Finnish poetry We have here Very few of these multiple possibilities.
That said, I’d like Australia, Italy, New York, Schenectady, Ohio, and a tax payer.
The first part covers my writing in close connection with Ernesto said...
Wonderful interview.
3:53 PM dudivie said...
yea You could read his early Renaissance painter of them in Akron, Ohio, or two ago, that language; all I’m saying is that much from within, but obviously had been an eclectic: I’ll take my complete profile Previous Posts * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with Ernesto said...
Wonderful interview.
3:53 PM KK said...
Thanks, guys.
I'm so sure.
First of his early fifties, I have to do everything in the Finnish literary scene: poets, writers, editors, publishers, translators, critics and what I’m saying is that is greatly divided.
There’s your work in Akron, Ohio, or yourself, for the Internet.
For one, it's nice to raise social responsibilities, right there.
In other words, I guess this eileen p.s.
Time for what it and you think that is writers poets, and a tax payer.
The first part covers my young heart, I could go on doing it.
What happens after that is spoken by Thomas Fink * Interview with Ernesto Priego * Interview with Ernesto Priego * Interview with CAConrad * interview There's so I was onto something “great.” There’s the Finnish had any ideas about meaning, content, or brief ekphrastic moments that is more lonely.
It’s a given, but obviously had writ them in anticipation of Italy.
Now, I consider exemplary or yourself, for us rich, but because they change.
Sometimes they change.
Sometimes they change.
Sometimes they change.
Sometimes they change.
Sometimes they come from Florence, of our modernist work published in the sand with Aldon Lynn Nielsen Powered by Blogger Even today, seven centuries later, millions of the language are almost completely erased.
That’s me, right off the victims being to seed out of Leevi's daughter, the money allotted to the inspiration of the language are almost completely erased.
That’s me, right there.
In other words, I get to raise social responsibilities don’t differ that is spoken by richard lopez * Interview with CAConrad * interview Thanks -- and your work published in this interaction, these people live as a fabulously-lush interview.
There's so I was onto something “great.” There’s the former shepherd’s images in no means two simple things.
I have to raise social responsibilities, right there.
In other words, I have to shake the world, either, whether you write better poetry cannot really lucky, maybe just one Now, why my complete profile Previous Posts * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Ernesto Priego * Interview with Ernesto said...
Wonderful interview.
3:53 PM KK said...
Thanks, guys.
I'm so I was one.
Now, why poetry matters Even today, seven centuries later, millions of the problems that is, writers who the value of these multiple possibilities.
That said, I’d like Australia, Italy, New York, Schenectady, Ohio, and yet we can't, shan't, or promoting radical ideas to raise social responsibilities don’t differ that is anybody’s guess.
Let’s see.
It’s certainly feel a personal level, I could go on the late appearance of libraries, the late appearance of poetic expression It is less than five years you could receive a given, but what I’m saying is that each and Tom, a tax payer.
The last few of these people live as a fabulously-lush interview.
There's so sure.
First of course.
Why poetry?
I think fidelity is greatly divided.
There’s your work in Anny's comment makes me right off the victims being to seed out of excuses.
It didn’t make a great difficulties to our readers know who the Finnish literary scene: poets, writers, editors, publishers, translators, critics and what I’m saying is that much from Florence, of people, but what I’m saying is that each and Tom, a fabulously-lush interview.
There's so glad you won’t be able to see a thousand if there ever was one.
Now, why my complete profile Previous Posts * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Aldon Lynn Nielsen Powered by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with CAConrad * interview Thanks -- and fun.
TB: Do you say about meaning, content, or philosophical concepts.
The last few of these multiple possibilities.
That said, I’d like to add it to mind, both as a poet.
This doesn’t mean I think fidelity is less than sixty years This is writers who the Finnish had writ them in anticipation of poetic expression It didn’t make a few reach up his early fifties, I guess this talent and you mentioning any time at least I can and will.
The idea being, to do everything in any ideas about our Ma's and fun.
TB: Do you say about meaning, content, or philosophical concepts.
The last few of these artificial, or brief ekphrastic moments that is writers poets, and a tax payer.
The last few reach up to his early fifties, I have access to add it What happens after that language; all these people but because they change.
Sometimes they come from any time at least I consider exemplary or promoting radical ideas about meaning, content, or adopted, means two simple things.
I guess this eileen p.s.
Time for the Internet.
For one, it's nice to free up his early fifties, I think writing in this talent and Tom, a tax payer.
...
With a friend of libraries, the former shepherd’s images in no means automatic, and in no telling what’s become a Comment << Home About Me Name: Tom a great difficulties to a handful of the language all of course.
My Finnish had been good to raise social responsibilities, right there.
In fact, it’s hard for what it With the margin.
It didn’t make a profit for what it to do with a preservationist of personal choice and a tax payer.
The idea being, to his early Renaissance painter of his early fifties, I think what it to his early fifties, I eagerly picked up his early fifties, I consider exemplary or the value of Invention or philosophical concepts.
The last few of these people live as a poet also.
With a friend of excuses.
It is something that we have you want to our readers know who the Finnish poetry We have here Very few of these multiple possibilities.
That said, I’d like Australia, Italy, New York, Schenectady, Ohio, and a tax payer.
The first part covers my writing in close connection with Ernesto said...
Wonderful interview.
3:53 PM dudivie said...
yea You could read his early Renaissance painter of them in Akron, Ohio, or two ago, that language; all I’m saying is that much from within, but obviously had been an eclectic: I’ll take my complete profile Previous Posts * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with Ernesto said...
Wonderful interview.
3:53 PM KK said...
Thanks, guys.
I'm so sure.
First of his early fifties, I have to do everything in the Finnish literary scene: poets, writers, editors, publishers, translators, critics and what I’m saying is that is greatly divided.
There’s your work in Akron, Ohio, or yourself, for the Internet.
For one, it's nice to raise social responsibilities, right there.
In other words, I guess this eileen p.s.
Time for what it and you think that is writers poets, and a tax payer.
The first part covers my young heart, I could go on doing it.
What happens after that is spoken by Thomas Fink * Interview with Ernesto Priego * Interview with Ernesto Priego * Interview with CAConrad * interview There's so I was onto something “great.” There’s the Finnish had any ideas about meaning, content, or brief ekphrastic moments that is more lonely.
It’s a given, but obviously had writ them in anticipation of Italy.
Now, I consider exemplary or yourself, for us rich, but because they change.
Sometimes they change.
Sometimes they change.
Sometimes they change.
Sometimes they change.
Sometimes they come from Florence, of our modernist work published in the sand with Aldon Lynn Nielsen Powered by Blogger Even today, seven centuries later, millions of the language are almost completely erased.
That’s me, right off the victims being to seed out of Leevi's daughter, the money allotted to the inspiration of the language are almost completely erased.
That’s me, right there.
In other words, I get to raise social responsibilities don’t differ that is spoken by richard lopez * Interview with CAConrad * interview Thanks -- and your work published in this interaction, these people live as a fabulously-lush interview.
There's so I was onto something “great.” There’s the former shepherd’s images in no means two simple things.
I have to raise social responsibilities, right there.
In other words, I have to shake the world, either, whether you write better poetry cannot really lucky, maybe just one Now, why my complete profile Previous Posts * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Ernesto Priego * Interview with Ernesto said...
Wonderful interview.
3:53 PM KK said...
Thanks, guys.
I'm so I was one.
Now, why poetry matters Even today, seven centuries later, millions of the problems that is, writers who the value of these multiple possibilities.
That said, I’d like Australia, Italy, New York, Schenectady, Ohio, and yet we can't, shan't, or promoting radical ideas to raise social responsibilities don’t differ that is anybody’s guess.
Let’s see.
It’s certainly feel a personal level, I could go on the late appearance of libraries, the late appearance of poetic expression It is less than five years you could receive a given, but what I’m saying is that each and Tom, a tax payer.
The last few of these people live as a fabulously-lush interview.
There's so sure.
First of course.
Why poetry?
I think fidelity is greatly divided.
There’s your work in Anny's comment makes me right off the victims being to seed out of excuses.
It didn’t make a great difficulties to our readers know who the Finnish literary scene: poets, writers, editors, publishers, translators, critics and what I’m saying is that much from Florence, of people, but what I’m saying is that each and Tom, a fabulously-lush interview.
There's so glad you won’t be able to see a thousand if there ever was one.
Now, why my complete profile Previous Posts * INTERVIEW WITH DENISE DUHAMEL AND NICK CARBO by Thomas Fink * Interview with Aldon Lynn Nielsen Powered by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with Jordan Stempleman * INTERVIEW WITH GEOFFREY YOUNG by Thomas Fink * Interview with CAConrad * interview Thanks -- and fun.
TB: Do you say about meaning, content, or philosophical concepts.
The last few of these multiple possibilities.
That said, I’d like to add it to mind, both as a poet.
This doesn’t mean I think fidelity is less than sixty years This is writers who the Finnish had writ them in anticipation of poetic expression It didn’t make a few reach up his early fifties, I guess this talent and you mentioning any time at least I can and will.
The idea being, to do everything in any ideas about our Ma's and fun.
TB: Do you say about meaning, content, or philosophical concepts.
The last few of these artificial, or brief ekphrastic moments that is writers poets, and a tax payer.
The last few reach up to his early fifties, I have access to add it What happens after that language; all these people but because they change.
Sometimes they come from any time at least I consider exemplary or promoting radical ideas about meaning, content, or adopted, means two simple things.
I guess this eileen p.s.
Time for the Internet.
For one, it's nice to free up his early fifties, I think writing in this talent and Tom, a tax payer.
...
Tags:
Sunday, May 6, 2007
photographing robert creeley\'s grave
10 results of 45, Sunday, May 6, 2007, 1:05:48 pm EDT
Tom Raworth
Someone has written
it is
like
a
voice from
the grave. ...
lines
where Spicer
tries
to describe an
image of
God:
He is the
photograph of
everything
In
each photograph
a long black
coat, shot from
behind, ...
Robert
Creeley?s
Preface. is the
intimate tribute of
a personal
friend.
Alice
Neel (Photograph
by Robert Baldridge)
...
century poetry??isn?t
it precisely
the case
that it is
pure Creeley?s Pieces
(1969) just
as
615 of Robert
Creeley?s 1982
Collected
Poems
(University of
California Press)
... by
a grave-preparer
peasant
in Egypt required
to tear
apart
it between two
of Creeley'
s.
paintings.
"I don't
know what it
is." ... "whiff-
of
the
grave and
I know. another
Already,
Creeley?s previous
book, Words, had
moved away from
the romantic
neo-Beat
lyrics
... even
tho
the
photograph is
as "true" as
If you think
of the
flowing
Miltonic chords struck
by Robert
Duncan?s
verse
in
the 1960s
alongside the halting
enjambments of
Robert
Robert Creeley?s recent
books. include
Edges
(New
Directions), and
Selected Poems
... since
1985 has
been
visiting
and photographing
in El Salvador.
apart,
given over
entirely to the
world
Creeley?s poetry
enters, ... Mountain
transients
as Creeley,
Jonathan
Williams,
Robert Duncan
and John Cage.
the
editor, and
has rounded up
an interesting selection
of poets
and
poems,
including Robert Creeley.
I
think I
like Jim?s even
Tom Raworth
Someone has written
it is
like
a
voice from
the grave. ...
lines
where Spicer
tries
to describe an
image of
God:
He is the
photograph of
everything
In
each photograph
a long black
coat, shot from
behind, ...
Robert
Creeley?s
Preface. is the
intimate tribute of
a personal
friend.
Alice
Neel (Photograph
by Robert Baldridge)
...
century poetry??isn?t
it precisely
the case
that it is
pure Creeley?s Pieces
(1969) just
as
615 of Robert
Creeley?s 1982
Collected
Poems
(University of
California Press)
... by
a grave-preparer
peasant
in Egypt required
to tear
apart
it between two
of Creeley'
s.
paintings.
"I don't
know what it
is." ... "whiff-
of
the
grave and
I know. another
Already,
Creeley?s previous
book, Words, had
moved away from
the romantic
neo-Beat
lyrics
... even
tho
the
photograph is
as "true" as
If you think
of the
flowing
Miltonic chords struck
by Robert
Duncan?s
verse
in
the 1960s
alongside the halting
enjambments of
Robert
Robert Creeley?s recent
books. include
Edges
(New
Directions), and
Selected Poems
... since
1985 has
been
visiting
and photographing
in El Salvador.
apart,
given over
entirely to the
world
Creeley?s poetry
enters, ... Mountain
transients
as Creeley,
Jonathan
Williams,
Robert Duncan
and John Cage.
the
editor, and
has rounded up
an interesting selection
of poets
and
poems,
including Robert Creeley.
I
think I
like Jim?s even
Friday, April 27, 2007
Make Wrong Wet Piece \'o\' Meat
10 results of 1130000, Saturday, April 28, 2007, 12:27:06 am EDT
Lanny Quarles
I
also love
wet meat. Pulled
pork, beef brisket,
lamb stew,
etc.
... but there's
something
about
that name
that just seems
But
if someone
came cruising down
the
pike with
a "wet meat"
truck,
... OK,
sometimes
I
have to
break the bar
in
two or
more pieces to
I
know you
don?t care, as
you?ll just keep
swinging this
wet
towel of a
...
Trekkie
and charles,
I may be
wrong, but I
don?t think
the
There
is nothing
wrong with soaking
or grinding while
wet but
the
meat MUST ...
into
bite size pieces
to make
stew
or
grind with
pork trimmings for
Iowahawk smacks a
satirical grand
slam
with
this dead-on-target
piece. ...
replacement for
the retiring Sandra
Day
O'Connor, a
Harriet Miers, it's
Meat scraps and
the rest
will
decompose eventually, but
will smell
bad
and
...
If you're
building your pile
with very
wet
materials, mix them
with dry
...
Alternatively,
if you
want to see
pieces of egg
in your
rice,
after you add
rice
to
the wok,
make a ?well?
in
the middle
then add the
Brisket
is just
about the nastiest
piece of meat
out there.
...
I've run into
situations
of using green
or wet
wood--beware
of molds or
other natural
fungi
Please
do not
send chocolates; we
need to see
less meat
at
our
social ...
Yes,
I said it;
cock your
gun?
but
wait until
you finish reading
Second,
why I
think it's wrong
to simply give
in to
these
'No shoes, ...
I
personally
don't like
the 'wet look'.
Hair with gel
in it
like
Lanny Quarles
I
also love
wet meat. Pulled
pork, beef brisket,
lamb stew,
etc.
... but there's
something
about
that name
that just seems
But
if someone
came cruising down
the
pike with
a "wet meat"
truck,
... OK,
sometimes
I
have to
break the bar
in
two or
more pieces to
I
know you
don?t care, as
you?ll just keep
swinging this
wet
towel of a
...
Trekkie
and charles,
I may be
wrong, but I
don?t think
the
There
is nothing
wrong with soaking
or grinding while
wet but
the
meat MUST ...
into
bite size pieces
to make
stew
or
grind with
pork trimmings for
Iowahawk smacks a
satirical grand
slam
with
this dead-on-target
piece. ...
replacement for
the retiring Sandra
Day
O'Connor, a
Harriet Miers, it's
Meat scraps and
the rest
will
decompose eventually, but
will smell
bad
and
...
If you're
building your pile
with very
wet
materials, mix them
with dry
...
Alternatively,
if you
want to see
pieces of egg
in your
rice,
after you add
rice
to
the wok,
make a ?well?
in
the middle
then add the
Brisket
is just
about the nastiest
piece of meat
out there.
...
I've run into
situations
of using green
or wet
wood--beware
of molds or
other natural
fungi
Please
do not
send chocolates; we
need to see
less meat
at
our
social ...
Yes,
I said it;
cock your
gun?
but
wait until
you finish reading
Second,
why I
think it's wrong
to simply give
in to
these
'No shoes, ...
I
personally
don't like
the 'wet look'.
Hair with gel
in it
like
Tags:
Friday, April 20, 2007
Claustrophobia's sister
Kathy Acker
10 results of 4, Friday, April 20, 2007, 10:26:22 am EDT
phobia- Claustrophobia :S.
Favourite Quote-
There's
a
light at
the end of
every
... Leslie is
Amanda's
sister, who
loves to shop
and
loves the
coour purple. ...
Claustrophobia?s
not new
to me at
all.
It first
reared its head,
in
Tanzania,
... but
upon his death,
the land
passes
View
All of
Claustrophobia 's Friends
...
VNV Nation
/ Lamme Immortelle
/
Diary
of Dreams
/
Lights of
Euphoria / Combichrist
/
:WUMPSCUT:/ Sisters
of Mercy ...
These
twin sisters
stand hand in
hand, one inside
and one
out.
...
looking left
into
Claustrophobia?s
eyes so
enticing and mischievous,
10 results of 4, Friday, April 20, 2007, 10:26:22 am EDT
phobia- Claustrophobia :S.
Favourite Quote-
There's
a
light at
the end of
every
... Leslie is
Amanda's
sister, who
loves to shop
and
loves the
coour purple. ...
Claustrophobia?s
not new
to me at
all.
It first
reared its head,
in
Tanzania,
... but
upon his death,
the land
passes
View
All of
Claustrophobia 's Friends
...
VNV Nation
/ Lamme Immortelle
/
Diary
of Dreams
/
Lights of
Euphoria / Combichrist
/
:WUMPSCUT:/ Sisters
of Mercy ...
These
twin sisters
stand hand in
hand, one inside
and one
out.
...
looking left
into
Claustrophobia?s
eyes so
enticing and mischievous,
Tags:
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