Oil Spring Betides

episodic memories
lowly receptors
local anesthesia compensate through
the Commonwealth,
Abuja fields
one pushing between them
scar around the tip, two others
intervene weakly
a place for animals,
synapses push away
moving towards the last chapter.

they are prepared
on opus reticulatum guided,
a reaction showing what will become
in the light of God
a pond: a thing to be counted.

an abject matter
for joyful hearts
for preliminary season
projecting points
took position
took Breath.

we commend something He did,
related, “He did!”
The natural environment struggles to secede,
left on ropes, on quaking earth.

inexpensive games:
join lavender
smells in canyons,
repel pungent flames
for adequacy
for one race,
for another.

ornaments of power
sought Quebec, sought
many of the
supporters by mouth,
the source of dissolution
evacuates, with confidence
with means of construction.

districts in robes supply
in favor, supply chains
with five developing
councils, a majority
will follow but have
been taken away.

clearly through pictures drawn on
sections to be marked, to be spectators
Clefs of Sands, knew many moments
many affirmations
an object depends on these sections
these brass linings, thresholds

poetic journey
first in sands
for timber, for oil
close to first councils
intimately linked through
displaced memories, provoked
poets in Abuja
raise the city in May,
for housing, for approach.

issues and participants
intervene calmly
the party is distinguished
about typical business
economic branches profess
He is a lawyer, a staunch
individual, an extension
of participation.

the temple music;
grand kettle drums, slow
obsolete notes engraved
on faint, passive stanzas
at the mouth of Mount Carmel

consecrated, being movable, and shaped
(bent) over and confined in stocks, barrowed,
Jeremiah hears the singing, from (no voice),
from (no instrument)ation. It is in constant
reposition, in consolation
for morning customs

She stopped
one-eyed
reading
turning to the sounds of meetings
bartering, helping him, she would
walk on foot,
for seeing inside
between special forms
largely due
where the spring would now shed light
on such flowers
strict isolation tells how the flower
and the song dance in folk, release, singing spirituals
the eight note below the legion,
his truncating alienation
deeply rooted
in passive speeches overheard by
entrepreneurs and made into assemblies
of congressmen
publishing votes
ritualistic forecasting
détente in fatigue
Where do the flowers go?

recounting the struggles
holding, despite an open floor

Chesnutt despises modern fairy tales
utopian brides in Georgia where
he paints the barn black and red
and yellow.

The landscape of Virginia depreciates,
mutual ambivalence is mobbed by shock,
by radio and white screens in
stirring houses