but the dry cold days between the lover's arms 

   or not that, and a few and far between these oceans
    of world, and the destiny of space   ~ .

 but the dry cold clay  between
 the dry cold day between
        (a lover's arm)

or not that, and a few and far these oceans
  of world  the destiny of space


C ~ when you come along variations like this, what do
you do , I mean, how decide?

C.D. I try them out by sound, and then eye inflection, ear inflections and breath seeing what happens among those variables and often leave it to decide for itself, as the reading version is not necessarily the definitive one, as definitive 'ones' i mean as a concept that's pretty limited and why not try to lea ve them letting 'em decide themselves. because after who's to decide the voice, as such, should decide what a poem is. anymore than a tense. One wants the discontinuity not necessarily to take pride of place, but it does have a legitmate place. I mean a performance of a verse, is not the same.

but the same is not the same either is it , now? why press the variables into forced uniform unity

dot dot dot

C: O I see  I see Clifford I cee I c I C C   ~.