| Therefore the post must be resumed.(is being falsified |  |
| To be forever involved, tragically, with one's own image?) | |
| The studio light suddenly invaded the long casement--values were the one what | |
| She knows now. But the floor is being slowly pulled apart | |
| Like straw under those limpid feet. | |
| And Helga, in the minuscule apartment in Jersey City | |
| Is reacting violet to the same kind of dress, is drawing death | |
| Again in blossoms against the reactionary fire... pulsing | |
| And knowing nothing to superb violet lambent distances that intercalate | |
| This city. Is the death of the cube repeated. Or in the musical album. | |
| It is time now for a general understanding of | |
| The meaning of all this. The meaning of Helga, importance of the setting, etc. | |
| stet | A description of the passionate blues, etc. Labels on bottles | |
| And all kinds of discarded objects that ought to be described. | |
| But can one ever be sure of which ones? | |
| Isn't this a death-trap, wanting to put too much in | |
| So the floor sags, as under the weight of a piano, or a piano-legged girl | |
| And the whole house of cards comes dinning down around one's ears! | |
| But this is an important aspect of the question | |
| Which I am not ready to discuss, am not at all ready to, | |
| This leaving-out business. On it hinges the very importance of what's novel, | |
| Or autocratic, or dense or silly. It is as well to call attention | |
| To it by exaggeration, perhaps. But calling attention | |
| Isn't the same thing as explaining, and as I said I am not ready | |
| To line phrases with the costly stuff of explanation, and shall not, | |
| Will not do so for the moment. Except to say that the carnivorous | |
| Way of these lines is to devour their own nature, leaving | |
| Nothing but a bitter impression of absence, which as we know involves presence, but still. | |
| Nevertheless these are fundamental absences, struggling to get up and be off themselves. | |
| This, thus, is a portion of the subject of these[?]XXXXX this poem | |
| Which is in the form of falling snow: | |
| That is, the individual flakes are not essential to the importance to of the whole's becoming so much of a truism | |
| That their importance is again called in question, to be denied further out, and again and again like this. | |
| Hence, neither the importance of the individual flake, | |
| Nor the importance of the whole importance of tXXXXXXXXXXXXXXX impression of the setXXX storm, if it has any, is what it is, | |
| But the rhythm of the series of repeated jumps, from abstract into positive and back to a slightly less diluted abstract. | |
