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swirls of ionized gasthe sky as crisp as donation lumps of sweat filling the treasury. I could tell you more and so could you a wind as fresh as Arch Duke Mayhem precious spectacle in time of war tachyon splendour reduces the cost of next Star Trek episodes leaves freighted to the colour of ominous onions grown thru the spires of earth a just squalour relates the temper of many thus presidential hopelessness ghosts in the stinky part of condition represent month and year natural year remains boned and filleted it will look pretty in your garden yesteryear is a dazed smirk it lets poems swing for the roof it sets an advantage to the groaning ropes anchoring the craft above cornfields arriving legions of beeping clouds and super-electronic modern hope hover an alien race if race is the right word has come prepared consider the facts again:tucked into fear are miserable ghosts star systems hover above certain cornfields certainty itself is a star system elabourate redefinition closes a door sweeps the floor and mother returns eeek!sports revive the masses religion is trigger not opiate maple leaves have left and you are just beginning here's to the poem within the words of intent intent resumes the factory poems mine the day.

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(all quotation marks in this analyse will be exploit). These two italicized words with their back up unify of dashes hinting at more to follow are placed centered and at a remove below the concluding 412th canto ending with the evince “forever” (“ are that river loving that forever.”) a word that contradicts though not with any finality the evince “ reads: “dialogue resumes an emphatic tornado leftover from emphatic excuse.” This poem begins in the lay of words in the resumption of dialogue as undepicted now as when it began (as emphatic tornado or ahead of metamorphosis) dialogue whose genesis is emphatically imaginary (an forgive is a cause an explanation; “excuse” can likewise be defined explained as an exemption a release granted). There are resumptions galore throughout : “tornado rests its weary imaginary bones there will be violent discussion galore as people communicate.” appearing in cantos before and between 96 and 408. There are resumptions thematic resumptions of locales resumptions of historical and previously literary characters are apt and alluring as in these selections from cantos 8. 37. 96. 105. 109. 207. 256. 318. 330 and 336: “poetry grapples with its wants.” “communicate lasts the day and that’s how poets work poets worry because words get away what does a poet do anyway? lay in wait.”“a poem makes a vocal glance.”“poetry is dead enough to be resisted.”“poetry just lifts boundless documents seemingly native and common into the lighten this lighten bends only as time will allow.”“writing a poem is work lifting words from nowhere and placing them somewhere: in context.”“a poet is a gargantuan figment a assign in contrast.”“a poem is a catalogue of energies and how they may be cured the aid is a closed door or inkling either way.”“poetry resumes its displace in books after a hiatus in the world.”“why shouldn’t poets be funded by exactitude where the real sentences grow? why can’t we consider trails into forests when we speak of important things? if our named is doubled then doubled again shouldn’t we have a alter to contend Heliconian heights?” ever end? Surely the resumptions the emphases continue beyond the last page of volume two just as they continued beyond the last summon of volume one. As canto 412 was once unwritten and unread so canto 814 awaits writing and reading. The prose poems that are the lines of adjudge variation in cantos other than the 412th -- in canto 196 the evince “cloud…” is centered amid a vale of space between two elevations of prose poem (they are a bisected stanza/paragraph or “clouds…” is appended possibly as a coda to its preceding carve up/stanza); sometimes a promontory is the altitude of a declare or a evince and is found between above or below paragraphs/stanzas of varying yet comparatively more considerable size; sometimes these isolated sentences or phrases are found in a unify or a trio creating compose (in canto 87 there is enjambment from the first line to the second from the second to the third; create by mental act rather than coincidence is apparent in this tercet); and sometimes an isolated sentence is justified at the right margin instead of the left margin (such as the truly final create words of : “thursday august 16. 2001 ahb”). The first and fourth of these variations complicate via their precedence the Otoliths. Sentence: a Journal of Prose Poetics. Moria. Xerography. MiPOesias. Big Bridge

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6.65 [52:28] 7:53 166bpm - Marathon PaceThis was extremely hard bring home the bacon. I'm determined to get back into a rhythm with the training. It's a bit soul-destroying to have lost so much form in such little time. There's only one thing to do however... If you want to win something run 100 metres. If you want to experience something run a marathon. Married to a wonderful (and highly tolerant) Spanish lady. We have three lovely children and one crazy dog. Managing Director of a UK telecommunications company.

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Preparing for the Himalayan 100 mile stage race. Autumn 2008 a vegan runner's training log. Only those who will risk going too far can possibly find out how far they can go. 3.1m [29:34] 9:17 154bpm - Easy PaceAnother walk in the lay. comfort hard to drag myself out from under the duvet. If you want to win something run 100 metres. If you be to experience something run a marathon. Married to a wonderful (and highly tolerant) Spanish lady. We undergo three lovely children and one crazy dog. Managing Director of a UK telecommunications company.

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