. . . . . . . . . . . . . . . . . .
                     .                                   .
                    .        pain site migrates           .
                   .         by nesting into consequence   .
                  .          elusive                        .
                 .           in its lightened sense          .
                .            of shock                         .
               .                 |                             .
              .                  #                              .
             .                   |                               .
            .                    |                                .
           .                     +-+                               .
          .                      | |                                .
         .                         |                                 .
        .                          |                                  .
       .                           #                                   .
      .                            |                                    .
     .  . . . . . . . . . . . . . .+. . . . . . . . . . . . . .          .
    .  .                                                       .         .
   .  .  . . . . . . . . . . . . . . . . . . . . . . . . . . .  .        .
  .  .  .                                                     .  .       .
 .  .  .  can visualize                                        .  .      .
.  .   .  the keeping song                    falling through   .  .     .
.  .   .  as nearly worth   -#-----\ /-----#- the parallels     .   .    .
.  .   .  the protocol              |         of dampened       .    .   .
.  .   .  for easing into using     |         moral permanence  .     .  .
.  .   .  enthusiasm as a weapon    |                          .      .  .
.  .    .                           |                         .       .  .
.  .     .                          |                        .        .  .
.  .      .                         #                       .         .  .
.  .       .                        |                      .          .  .
.  .        .                an eaten stare               .           .  .
.  .         .               that gives the form         .            .  .
.  .          .              to losing how              .             .  .
.  .           .             attack erodes             .              .  .
.  .            .            its branches             .               .  .
.  .             .                                   .                .  .
.  .              . . . . . . . + . . . . . . . . . .                 .  .
.  .                            |                                     .  .
.  .                            #                                     .  .
.  .                            |                                     .  .
.  .                            |                                     .  .
.  .                            |                                     .  .
.  .                            |                                     .  .
.  .                            |                                     .  .
.  .                            |                                     .  .
.  .                            #                                     .  .
.  .                            |                                     .  .
.  .    . . . . . . . . . . . . + . . . . . . . . . . . .             .  .
.  .   .                                                 .            .  .
.  .  .  forgetting                                       .           .  .
.  .  .  how to guard against                              .          .  .
.  .  .  the edges                                          .         .  .
.  .  .  of the probable                                     .        .  .
.  .  .        |                                              .       .  .
.  .  .        #                                               .      .  .
.  .  .        |                                                .     .  .
.  .  .        |                            synchronized         .    .  .
.  .  .        \                            by moving             .   .  .
.  .  .         -----------------+-------#- to the clacking sound  .  .  .
.  .  .        /                 |          that bothers           .  .  .
.  .  .        |                 #          packaged sleep         .  .  .
.  .  .        |                 |                                 .  .  .
.  .  .        #                 |                                 .  .  .
.  .  .        |                 |                                 .  .  .
.  .  .    don't see             |                                 .  .  .
.  .  .    any single way        |                                 .  .  .
.  .  .    to shoot through      |                                 .  .  .
.  .  .    nothing wished        |                                 .  .  .
.  .  .                          |                                 .  .  .
.  .  .                          |                                 .  .  .
.  .  .                          |                                 .  .  .
.  .  .                          #           gesture loss          .  .  .
.  .  .        \                 |           is greater            .  .  .
.  .  .         -----------------+--------#- than the strength     .  .  .
.  .  .        /                             of telling apertures  .  .  .
.  .  .        |                             to keep the field    .  .  .
.  .  .        |                             resolved            .  .  .
.  .  .        #                                                .  .  .
.  .  .        |                                               .  .  .
.  .  .     severe                                            .  .  .
.  .  .     behind the face                                  .  .  .
.  .  .     that keeps                                      .  .  .
 .  .  .    a frozen economy                               .  .  .
  .  .  .   that nothing                                  .  .  .
   .  .  .  is different                                 .  .  .
    .  .  .                                             .  .  .
     .  .  . . . . . . . . . . . . . . . . . . . . . . .  .  .
      .  .                                               .  .
       .  . . . . . . . . . . . . . . . . . . . . . . . .  .
        .                                                 .
         . . . . . . . . . + . . . . . . . . . . . . . . .
                           |
                           #
                           |
downstream eyes            |                               a back that's made
that lie to keep           |                               for seeing where
the movement game          |                     \ /----#- congestion bird
a shadow of pursuit        |                      |        can fly
         |                 |                      |        the right direction
         #                 +-#-----\ /----------#-+
         |                 |        |             |
         |                 |        |             #
         \                 |        |             |
          -----------------+        |     the depth of knowing
         /                          |     when to hope
         |                          |     decay will be
         |                          |     persistent
         #                          |
         |                          |
     hesitate                       |
     to tempt the feeling           |
     tighter than its drum          |
                                    |
                                    |
                                    |
                                    #
                                    |
                                 a floor
                                 for someone else's
                                 arrangement
                                 of the blades