these were the changeling motions of an undivided landscape—we might call it, the undivided concept | scarce recorded, and not much ever noticed if this nothing we call noticing is worthy of the word [it is not] among which they, this they, were forever unremittingly them and over there and not us, nor were they ourselves—strange fancy

out and over this here of worm damp, their iron hard earths declared the logic of practice hostile to burial, not burial, this burial never considered | not considered not need negation | it made the -not- burial of they, this they, the above land extrusion of gathered pieces where they trod | some places that were, there were, and here, no treading falls and the mosses add themselves over to the zone, called surface, for their delicate concoctions, where indeed, the word like carpet becomes literal in the outside of its speaking, the beyond of our looking | to the divided concept of the divided one there be no, this that there, and so on, which being why some, or simply one, came over to say, there, this nothing be nothing but white feathers, and it, this it, at the approach of this there over, said they | nostrils and the mouth set to some motion, own munching like the first weened once did [the not weened never, then dead more rightly] and so, the divided them not returning stuffed to the lips, laid stuffed too, iron earth [this be indifferent], no back and forth with materials to build upwards over—the other creatures have what they find, and some birds keep with the picking at the this that there of them

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Ansgar Allen is the author of books including a short history of Cynicism, and the novels, Black Vellum, Plague Theatre, Wretch, The Wake and the Manuscript, and The Sick List. Twitter: @AnsgarAllen

Emile Bojesen makes music under his own name and as Primal Scene. He is a long-time collaborator of Ansgar Allen and has published the book, Forms of Education: Rethinking Educational Experience Outside and Against the Humanist Legacy.