1) A presentiment of the future; a foreboding
to warn in advance; old origins speak.
Fading precision, stark and oblique: ORNATE
11. Botany. Having unequal sides, as a leaf.
Hyperbolic, a literal rhetoric question:
I am deciduous, transient, hyperfluous?
Coniferophyta ringing of vita. Does it
last, where prime is secondary, arrival on
reprimand, an isosceles triangle. Polyquadtwist
command. A manifesto of circuits
plundering through space,
not ready to be heard, they sing atonal cautions.
Yes, they are bent,
in directions that do not direct,
obsessive ceramic derivative again---
Atlantian woman watches, poised in an elegant stance.
Stark rhyming mad* rendering Basho with echo
in an invisible canyon, a glowing green dominion,
where overt subtleties take on the taste of cherries.
I do believe in faeries, as a graphic actor in the crysis,
stumbled upon occidentally. Once, we were eastangular.
A wizard dunce, undeniably ambiguous,
with a metaphorical (forbidden) magic stick, a somnambulant warrior.
Basking in the flavour + of a sherry chorus
brought up by Horus + in a grave delight
a lamp in the winter + despite the warmth of wind
just as gamma rays continue to violate our brains, yesterday,
i remember when i got a metal splinter.
6. Physics. Magnetic field fortitude, (10-5) of an oersted ornate.
Magnetic flux density melts. Am I equal to one nanotesla.
Equal reluctance, parallel vacuums
as our continuum reflects and
drips on the bystanders.
* Stark mad was first recorded by poet John Skelton in 1489; stark raving was first recorded by playwright John Beaumont in 1648; stark staring mad was first used by John Dryden in 1693. The current wording, stark raving mad, first appeared in Henry Fielding's The Intriguing Chambermaid in 1734.