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a[17] = "The central motive in a story. Agamemnon wants to conquer Troy. Then Odysseus wants to get home. These people are never satisfied."
a[18] = "The dead hold sway by virtue of capitalization. The passage from lower to upper case underlies a change from descriptive, contingent usage, to object status."
a[19] = "Penelope in Ithaca. We've seen her in this role often since."
a[20] = "The myths were heavy. In the instant we recognize them as myths, we encounter the possibility of freedom."
a[21] = "No writing is finished."
a[22] = "A poem is an instruction manual."
a[23] = "conspiracy theory of narrative construction. An inter-subjective plan is hatched."
a[25] = "The body, whether of water or knowledge composed, always thickens the soup."
a[26] = "And ways of counting and dividing time into segments are always subject to change, as events change the shape of time."
a[27] = "This happens every day."
a[28] = "Canceled, deleted, scratched, or simply put on hold, experience is to consciousness as innocence is to experience."
a[29] = ""The sky has a tree in it." Field/figure. Blue/green. Black and white. What you pick out is what you get."
a[30] = "The air is full of them. Smoking or non. Tilted. Translucent. Different colors."
a[31] = "The way you look at it. But first you have to get up high enough to have a view at all."
a[32] = "The right place to stop. Finger stops. Definition. Network accounting system. A new sense of form, one that's clear of swamp and circumstance. In short, Bach."
a[33] = "States say something. A highly charged body indicates forces in the vicinity."
a[34] = "Bound to perform in a certain way, constrained, wincing with formality, egged on by superiors, cautionary by rote."
a[35] = "The individual seeks validation by capitalization. Public figuration endows private shade with sunny identity. But what the public wants to hear is "It's a jungle out there.""
a[37] = "Not so much available as feasible, imagination enables the poem, not as we hear that warheads are enabled, but more like in capture the flag, when you are are held captive by the enemy until one of your teammates "frees" you by breaking throughh enemy lines and tagging you."
a[38] = "A halftone is a screen."
a[39] = "A sense of life far off or motion behind a window. Separation conditions the life of the poem. Being in a place one has never seen, especially if it is an old place, sight provokes nostalgia. Tenderness."
a[40] = "Chords build an emotion, change by change. Conflicts created and resolved revolve in combination. It's a progressive not a static sound, bearing as it does, complexity along lines of force."
a[105] = "Drama may also be subject to the laws of ownership, may be, itself, a prop. But the sense here is more specific, colder."
a[106] = "You see? It's a quality, and these molecules are quality molecules, i.e., they're pristine. They move around a lot."
a[107] = "Where enough of them get together to put out an awful lot of light and heat, far away, or so they say."
a[108] = "The official distance doesn't really matter. For the ancients the sky was just above the tops of the mountains."
a[109] = "So there's this real split: experience and things. And no knowledge without both."
a[110] = "Differences give us light, air, a view, protection, two sides, inside and outside, and are operable, can be opened and closed."
a[111] = "Specific gravity, surface tension, stuff stickes to itself, separates, covers the world in tiny drops."
a[112] = "Looking through it in summer, adjusting focus forward, to see the scene, intense greens of summer, blurred in patches, and back to back wire mesh in minute attention, awash, begridded. Or in spring, high out over the cool sky and black branch."
a[113] = "An abstraction. The reduction of expression to a physical representation of its physical properties."
a[114] = "you can read that graph and what can it tell you. You may be able to decipher the actual tones of voice, the levels of emotional intensity, guess by the rising and falling the actual meaning of what's being said. But you won't feel it. Your understanding will be a result, not an experimental given."
a[115] = "Analysis is a control mechanism, a way to avoid being engulfed by powers that might strip you of your ability to act (waiting backstage to go on)."
a[117] = "It's instantaneous. "I need some time to think it over" means "I want not to think about it for a while, so that when I think about it again, my thinking will include other experiences."
a[119] = "If thinking is instantaneous, the material of thought, language, has a long shelf-life. Words are durable goods."
a[120] = "Print the preservative fix, freezing the instant for as long as you like. Change reified. Static cling."
a[121] = "Memory is also like a book. Words echo there long into life."
a[122] = "A composite of evidence received through the senses."
a[123] = "and the unflagging impulse to speak that reforms everything we hear in the image of our thought."
a[124] = "The product of an instant, multiplied out exponentially in an accretion of form, defines the borders of autobiography."
a[125] = "Repetition closes in over the word, ridding it of meaning in a gradual crushing process, and replaceing it with aura by a ghastly kind of suction. Capitalization freezes the referent. The signifier becomes a signified."
a[126] = "But use shifts the location of the meaning, creates possibility."
a[127] = "A song in a stadium, or behind one, "with you"—that's once in a lifetime stuff, but the everyday quality of life has a flip side, and it's nighttime."
a[128] = "An act, deciding to do things this way, on an ongoing basis, within the limits of the possible, if not feasible, but going on in a way, defines who you are."
a[129] = ""Haven't I met you some place before?""
a[130] = "The delectation outstripped by the actual, physical activity"
a[131] = "of plunging back into darkness. We open our bodies to space and give over our organs of experience to reorganization"
a[132] = "be it military or comedic-divine."
a[133] = "Hemp fibers, woven together, provide tensile strength. Narrative. Hitchcock's  The Rope  . Sky the color of a shirt. What holds everything together? Color."
a[134] = "The bonding principle is the return."
a[135] = "Instructions to the patient, attentive to sensation or "vision nascent.""
a[136] = "Out and away, smiling inwardly, viewing the world from a distance, dispassionate, amused, loving, these states attest to a well-tempered clavicle."
a[177] = "The preparatory moment presages movement from word to word, line to line, station to station, person to person."
a[178] = "To go from the sidewalk (pedestrian) to street (automotive) is to take one's lie in one's hands. The Ventures memorialized this moment in the classic anthem of guitaristic self-control, "Walk Don't Run.""
a[179] = "There is a logical limit (a space curb) to what can be expressed in language,"
a[180] = "beyond which we are ever tempted to tread,"
a[181] = "because there's so much more we would like to have said."
a[182] = "The instruments we use to tell each other things"
a[183] = "seem to have things of their own to say and loudly protest"
a[184] = "the discipline we try to enforce on them, wanting"
a[185] = "Moving toward practical idea. The view from Squid's is of the Scientology building."
a[186] = "What a bald statement! It would seem to rely on a qualifying context for verifiability, but how does an approach to the workplace offer this?"
a[187] = "The office windows fix the activity within: people seated or moving about in various rooms. Wittgenstein calls Newtonian mechanics a "net" cast over the natural world. Through the squares of its grid we can identify particular relations. But Wittgenstein asks, wouldn't a net of triangles also work?"
a[188] = "And why not? Whether you take space as original construction or logical given, all kinds of analytic projections (in language) seem to "fit.""
a[189] = "Thinking past practical applications of abstract ideas such as how to make more money, the cherished goal of every American,"
a[190] = "attention to changes, not only self-realization, but the emergence of complex rearrangements at every level of meaning"
a[191] = "brings possibility forward as form."
a[192] = "Words lined up side by side carry on until all hours."