Two Poems

Joselia Rebekah Hughes

 

EATING AT ANOTHER TABLE BLACK_SPACE’D (#5 BORON)

Direct a genre dash a haunting. Win honor of a kind master and end will leave your mouth, ape. Direct a laugh. Define it to scary. You feel a mix of emotions but think “I want to feel like a portal of time.” Story class slash divide families. Meet in a semi-basement kind of home. Common because it is realistic, because it reflects the psyche of tell a translator, still half overground, “There’s hope and still access to light and you haven’t completely fallen to yet.” This mixture. This fear that you can lower I think to how protagonists feel. In order to get it right design empty towns set to be torn down and then copy them. Set traces of people who lived via translator. Ghost towns model old bricks in empty houses. Re-create them. Intricate backstories for fictional neighbors inform the fake. One particular is children dash cities to collect reusable garbage to make living design. Other characters include a shaman and someone unemployed. Wannabe realistic? Realize we built on a set. Eventually, the wealthy introduce their center of action and place society and dwell their want to show off and garden we to an empty lot. And we built on a soundstage with plenty of secrets and much sneaking around so design choices we with simple logics in mind. If one character is down, can the character see? Aesthetically create, house an avaricious elitist. Design like an architect. “We so real we actually living it” to the result is equal wood, glass, lines and silhouettes. We purpose living, room appreciate. The designer gave a wall of glass looking out and outfitted it with a television. “I wanted living room and one impressive picture,” says status. And some appear real, deal an image of stainless steel, form an artist, hang on one wall. We look like a massive wave start from a thrown quiet. And living space does more than provide pitch, characterize dark. Home drives plot to an expected place: furnished, lit, set so the twist says, “Houses should feel mundane and comfortable and threatened when we feel fear.”

EATING AT ANOTHER TABLE (#4 BERYLLIUM)

Direct a genre dash a haunting. Win honor of a kind master and end will leave your mouth, ape. Direct a laugh. Define it to scary. You feel a mix of emotions but think “I want to feel like a portal of time.” Story class slash divide families. Meet in a semi-basement kind of home. Common because it is realistic, because it reflects the psyche of tell a translator, still half overground, “There’s hope and still access to light and you haven’t completely fallen to yet.” This mixture. This fear that you can lower I think to how protagonists feel. In order to get it right design empty towns set to be torn down and then copy them. Set traces of people who lived via translator. Ghost towns model old bricks in empty houses. Re-create them. Intricate backstories for fictional neighbors inform the fake. One particular is children dash cities to collect reusable garbage to make living design. Other characters include a shaman and someone unemployed. Wannabe realistic? Realize we built on a set. Eventually, the wealthy introduce their center of action and place society and dwell their want to show off and garden we to an empty lot. And we built on a soundstage with plenty of secrets and much sneaking around so design choices we with simple logics in mind. If one character is down, can the character see? Aesthetically create, house an avaricious elitist. Design like an architect. “We so real we actually living it” to the result is equal wood, glass, lines and silhouettes. We purpose living, room appreciate. The designer gave a wall of glass looking out and outfitted it with a television. “I wanted living room and one impressive picture,” says status. And some appear real, deal an image of stainless steel, form an artist, hang on one wall. We look like a massive wave start from a thrown quiet. And living space does more than provide pitch, characterize dark. Home drives plot to an expected place: furnished, lit, set so the twist says, “Houses should feel mundane and comfortable and threatened when we feel fear.”