extracts from “equations for a falling body”
we are all
hurtling towards love at
nine point eight metres per second
the force exerted on me beneath you is equal to the mass of your body times the rate at which the universe is slowing down around us. jk. but the force that is acting on you on me is the same force that acts on the moon and the sky. we are the moon and the sky to the earth in this bed.
determine the fate of “love” by measuring “Ω”, or, equivalently, the rate at which the “need” is decelerating. if Ω > 1 then the sum of the angles of your heart exceeds one hundred and eighty degrees and there are no parallel lines. we eventually kiss. if Ω < 1 then lines that do not meet are never equidistant. we have a point of least distance and otherwise, grow apart.
on the efficacy of [early] transformational-generative grammar theory[/ies] for determining “style”
It is the height of spring. The trees are in full leaf. The shrubbery is in full leaf. The trees are green. The shrubbery is green. The green is intense. The trees are still. The shrubbery is still. The trees are shadowed. The shrubbery is shadowed. The shadows are complex. The sky is blue. The sky is still. The blue is whole. The pool is very still. The deck is very still. The poet is very still. The chair is very still. The table is very still. The trees are very still. The facade is very still. The pool is composed. The deck is composed. The poet is composed. The chair is composed. The table is composed. The trees are composed. The facade is composed. The pool is silent. The deck is silent. The poet is silent. The chair is silent. The table is silent. The trees are silent. The facade is silent. They are a tableau. The tableau is whole. The tableau is enclosed. The facade belongs to the home. The facade is at the rear. The silence is very nearly whole.