th at the beginning of a word is like h, as thig=hig—come
there are too many signs for I am sad in the language of I am tired
ú
ò ó
ì í
é è
á à
ä
These sleeping pills owe,
like the early Moderns,
a creative debt to the Cubists.
:Dìscùss:thé: ——— ———— —— —— —
:sìgnífícánc: ————— ————— ——— —— —
:è:óf:äny:nò: —— — ———— — —— —— — —
:täblé:sìmíl: — ——————— ——— — — ————— —— —
:árìtìès:ór:: — ——— — ————— —————— —— ———
:díffèréncès: — ———— ———— — ——— ——— —
::bètwéèn:th: ————— —— — ———— —— —
:èìr:méthóds: ——— ——— — ———— —— —
—exorcism of past associations and inheritances—fragmentation a spun sugar break from typical associative reasoning—multiple perspectives, but all of them independent and irrelated—a focus on significance of letters in words in language(an attack against the interpretive act itself)—events orphaned from their historical narratives—
ú ò
ù ó
ì í
é è
An
occurrence is taken out of context and
brought somewhere else. The meaning
it takes on has everything to do with its
relationship to this new space: your nest
is filled with eggs that aren't your own that
some instinct forces you to attend --
birds
of what colour? but you must keep them
warm.
th in the middle and end of a word is silent, as bathar=baär—goods, bàth=bà—drown