paINpo[M]e4[Mo]Nk]
1
.nexw[gep]fo'r[ho/p]ebec'ome[;odeo]rok/roolejzaa
no[d'hur]jinmim]kastin[gah.nak]lov[edit]huty o[x]z
lo[u]sh[go]vortun]vor/tex[wel[l]llrew[ill]fiit[tifittiilllliili
ii]nerv[kow[fortune]lop[.]illfitt..iollfo..\iil[poppoppelll
pause...res.u[]me]ret fopi to.miep./[=n itakponcllll
yur[sause]tein]mein][pom.e ruy foh[]ru.tye.tar tar']
2
.x an ige[orn't that wa[s oopoi
bummedt urn b'a]ce pr kuopil
od he...or[e. Them ha[d, ]o kit
le la On m]in'eoe; bled g [] fin
othe duch[ is for so hert..hu hio
pee there on t]o g.whes's la gre
austr'red cam[leg the poic'trai ni
bbn'.B. The wit it at hul'se que 'b
LY ed be 5ive gread fr'ies'beckjik
3.
rhythma'n'ing 5 cotes niu
domonk spotdia.mon'hui
flucho'rd'upatbeitimead ife
ad this lien, if the monlk4 m
.idni.te Quitich exturne int'un
RNyur[sause]tein]mein][pomre
.e ruy foh[]ru.tye.tar tarmo'n
ied be 5ive gread fr'iesk ou u
4
no[d'hur]jinmim]kastin[gah.nak]
lov[edit]huty oedit]huyofr'iesk o
m.o[nk.mo].nk[m.[o[]n].[k]]po
rhyth ma'n'i ng 5 coat[es]plbass
pee the g.whes's la fr'iesk outop
.new[gep]fo'r[ho/p]ebec'ome[;odeo]
rok/rooleno[d'hur]jinmim]kastin[gah
.nak]lov[edit]huty olo[u]sh[go]vortun
vor/tex[wel[l]llrew[ill]fiit[tifittiillii]ne[vrk
ow[fortune]lop[.]illfi[tt..ioll]fo..\iil[poppo
5r[e]P[Ris.e]
.new[gep]fo'r[ho/p]ebec'ome[;odeo]rok/rool
elo[u]sh[go]vortun]vor/tex[wel[l]llrew[ill]fiit[ti
fittiillno[d'hur]jinmim]kastin[gah.nak]lov[edit
]huty olo[u]sh[go]vortun]vor/tex[wel[l]llrew[ill
]fiit[tifittiillii]nevrkow[fortune]lop[.]illfitt..iollfo..
\iil[poppoppepause...res.u[]me]ret fopi to.m
ep./[=n itakponcyur[saus]e]tein]mein][pom.e
ruy foh[]ru.tye.tar taril[lfitt..ioll fo..\iil[pop]p[o]
texts that change the conscious parameters of literature, both for readers and writers. from a different angle than these, r.p. blackmur adds: 'poetry: [is] ...language so twisted and posed in a form that...it adds to the stock of available reality.' formerly edited by peter ganick. send texts to Volodymyr Bilyk at ex.ex.lit@gmail.com for consideration...
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