Thursday, April 13, 2017

dalpu-daltu


to consider
the spherically infinite hole
of the present
as a flat and disc-like emblem of coinage
is laudable
the skeins where the fate-strings hive
taint off that the cross-suctions are loco-
lea enginarred for with emoticrumb dreth it gels
anha inaja dannis da-al-pa-a-ku ina itaplusisu
and work out the plug
for the coin-face door is gorgonized
but not entirely / the gorgon is mainly apparent
at the mid-range optick
if we sub-dermally apply to invest in the micro-harvest
we aspire to a further vision of regression
the coin is a primal scene which evades hermeneutics
it involves a stylized architectural version of a navel
set in a park-like and yet naos-like setting in other words
a spectacular grove (narse, nare-set, naose, noise-sect)
the carved stone omphalos in this case
is an omphalos collisseum (LIAR! LIAR! tropical cunnilinguist ads!)
more over it may shrink to the size of a medium chaotic
balcony pit set down in the earth (instead of at the top of a column like a wheel) (RADAR! OBOES! CHERRY TREES WOVEN!)
and so the oracle priestess sits nude upon her tripod (is that a man?)
breathing the hallucinating fumes (by what mechanism? a nose, a noose, a narroose? she knows? oboes?) surrounded by the park but also by the moveable hood grotto.. (it is pi-shelf) she takes huff.
then in the omphalos pit the albino snakes are released, pythons i feel mostly, bred over hundreds (ten) of generations, to produce word-like and letter-like designs on the their bodies, into which the oracle descends working her hands and arms through the snakes and 'reading' them (him, or her, as the snakes may be a single man, or single century, or a single future, or past) the oracle in trance, swims (or reads and calls out her sigil poem) which the artists around the perimeter draw from literally draw from as in  dul-lu dal-lu-u-tu ina libbi nippus "we will do the work of drawing water" their names are that ..