XI. Oubliette
Fornix mitral threadgill sumpt. You have been undervalued by timelessness. The phenomenon of adjudicating strangeness. The leading metonymic indicators. Dismantling similitude. Hyperbole, or follow that lynx. Cubby naphood. Gabby Hartnett. More interested in nude roses than neuroses. Restricted voices in the oleander. The farther confessor will make you convex your grins. A convection oven in which conventions are fired and emerge like souffles filled with the balloon juice of invention. Oubli, oblivion, oubliette: "A dungeon with an opening only at the top, fr. oublier to forget." Segue (proceed to what follows without pause; to make a transition without pause) versus when he says that "pause is the ear" it is because when you hear a sound that is foreign, you pause so that you can listen and decipher. Some of us stunted in a vast compote composed of plot and hectic mention. Believing more or less. Indexicals, cantilevers and simoons. A cathedral dry as desert moon. When the image gets in the mix as part of the sonic envelope all Hellas breaks loose. The ambient music does not create an enclosed, confined space but secretes from its presupposed womb a spider web and that's the connection to what wasn't there before. But you have to spot check for these timely leakages. What is soothing about repetition is that it allows you to recreate what you thought was there before but wasn't, therefore, a memory any longer than it had to be. A huge selection in retrospect. The mines and abhors. Brain like some high chaparral. Lift time, a warranty. Quite a recollection of getting rid. Said, straight into the saline as a scoffing off of this thought heap. Blazed, constantly monitoring the isotope. As if looking into an hour would last as long in reverse.
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