opening scenes of destruction

and a pair of pouring taps turns themselves toward that of an argumentative body of broken bones

and below it stands to attention one man’s sullen and swollen atmosphere – all stabbed ears for the baby which cries two rooms over and detached from his chaotic misbehavings
seems she has become an irreparable misrepresentation of herself

slightly unsightly, upended and addicted and wishing for something to take this body back toward utter bargaining sessions of construction. This shouldn’t be easy anymore
should it!!? both baby and man-child boiled at the brim, simmering to think

it brings the reader in again, causing their lethargy to suddenly upend and paralyse themselves, till reading with pairs of romanticising eyes, this appears to be the rhapsodic nature of disenfranchised eyelines
what’s their name but for everything, everyone… Everywhere, and a thrown writer STILL stands to exceptional attention
ill-aware albeit affably tweaking the unthinkable difference – the subtle injection of irreparable apprehension begins.

Version number 2 – ‘Mind of Many’

opening scenes of delicious destruction ((again))

the vanity of a pair of pouring taps
turned themselves gloriously toward that of an argumentative body of broken bone

and, below, it stands to unmentionable attention
one man’s sullen and swollen atmosphere – all stabbed at ears for the baby which cries two rooms over and precariously detached (and with Rottweiler tendencies)
from these chaotic misbehavings
seems she has become
an endless array, an irreparable misrepresentation of herself again.

unsightly, upended and crushingly addicted
and wishing for something (ANYthing) to take this body back toward utter apprehension
bargaining sessions of comfort and level-headed concentration again. This should not be so easy anymore
should it though!!? both baby and multi-emotive man child boiled
at the brim, still simmering ..

bringing the rearranged reader in again, letting their unchosen levels of maniacal lethargy suddenly upend and penultimately paralyse
Itself
till they get to immediately reading
with romanticising eyes; yes, this is the wraparound and rhapsodic nature of a disenfranchised sight-soar

what’s their name but for everything,
everyone… Everywhere, and a thrown (no less explosive) writer STILL stands
ambivalence is real and rather wrought iron, oh my
ill-aware and affably withstanding and deliciously tweaking
the unthinkable unshrinkable difference within
yes, he who won’t let the agony in, yet it has to stand for something. seriously suggestive

a typewriter beautifully misguided by the guise, the summarise, of one augmented night

version number 3 – ‘He Uses His Smile And Walks With Chaotic Accordance’

opening scenes of delicious destruction ((again))

the vanity of a pair of pouring taps
turned themselves gloriously toward that of an argumentative body of broken bone

and, below, it stands to unmentionable attention
one man’s sullen and swollen atmosphere – all stabbed at ears for the baby which cries four rooms over and precariously detached (and with Rottweiler tendencies)
from these chaotic misbehavings
seems she has become
an irreparable misrepresentation of herself (yet) again. addicted to depression

unsightly, upended and crushingly addicted
and wishing for something (ANYthing) to take this body back toward meaningful apprehension
mere eager bargaining sessions of complete comfort and level-headed comprehension, please. This should not be so (very) easy anymore
should it though!!? both baby and multi-emotive man child hard-boiled
disgraced and placed at the simmer of the glistening brim …

bringing the riotous nature of the ragtag reader in, furthermore still, and letting their unchosen levels of maniacal lethargy suddenly upend, suspend and pragmatically paralyse
Itself
till they get to immediately reading
with highly romanticised eyes; yes, this is the entranced nature of the disenfranchised sight-soar

what’s their real name but for everything,
everyone… Everywhere, and a thrown (no less explosive) writer STILL stands
ambivalence is rather real and rather wrought iron, oh my!

ill-accorded and credibly withstanding
the difference within
yes, he who won’t let the agony in yet it has to stand for something. seriously suggestive

a typewriter, beautifully misguided by the guise
of that one augmented night