You saw the tests
(but not the grade of the land) fall from grace
only to be raised like the grass you were raised on.
A season changes. No more armored cars frolicking
around banks, grocers, ISPs. The curtains are drawn
to accommodate what they and we dusted away.
And we who create with vigor on glass
like machines making change, we who read and forget,
are aware that the checks are separate, that what we dropped
is rolling.
Who believed we forgot because we didn't stop for a light,
say all is improvised. Through the din, the sweet pink
hips are adorned tonight. But laughing
makes us convenient, folds us
in purchased comfort, too mixed and flacid: don't
stare down the list of warnings,
but is insight on the loose?
The night's final orders have been placed, the metal detects you.
Now the failure is hemmed in,
or hauled out; others say no dice
but it rings false. The foyer, the orchard preempted—
I'm timid in song for you, and the drowsy stems
arranged for this line have asked to leave:
hopeful, a hand to wave.
"...The name of the song is called 'Haddocks' Eyes'!"
"Oh, that's the name of the song, is it?" Alice said, trying to
feel interested.
"No, you don't understand," the Knight said, looking a little
vexed. "That's what the name is called. The name really is, 'The Aged
Aged Man.'"
"Then I ought to have said "That's what the song is called'?"
Alice corrected herself.
"No, you oughtn't: that's quite another thing! The song is
called 'Ways and Means': but that's only what it is called you know!"
"Well, what is the song then?" said Alice, who was by this
time completely bewildered.
"I was coming to that," the Knight said. "The song really is
"A-sitting on a Gate": and the tune's my own invention."
-- Lewis Carroll, "Through the Looking Glass"
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