Troubling yourself over the chronology of events . . .
But why the embellishments? . . .
OK, so the use of fourth-wall-pulverizing techniques
currently in vogue . . . bare bones judged idiomatically,
as announced, by the watchers at the gate . . .
the mortuary silence of winter . . .
But this cesspool of a script squeezed through, yes? . . .
You know it . . . we all know it . . .
Deer don't seem to mind the snow much
since their hair is hollow and a very good insulator . . .
But your words, camouflaged, are spindly . . .
prone to slippage . . . not unlike Mallarmé
holding a cigar in his hand
for Manet's portrait of him . . .
Doubtless, a subtlety in Microsoft's latest release
with the clickety-clack on the trestle
of the train with its nightmarish boxcars . . .
Of course, the focalization or fragmentation
in Woolf's To the Lighthouse . . . words bobbing along
eager to terminate your membership . . .
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| Antonio Palmerini |