the thin model (or separation corpuscle)

the woman takes  (her)    p lace
once she is     cut     in half.

this is how we enter    s/p/l/it     o pen   
her e  before the  possibility.

no blood    but the magician
sitting on a folding chair.    schooled.

in  s nips.       and s nails.      and _b l u r red
in the act of being  (a boy who must not

p lay with girls).__ no st rings attached.
before we k now what will snatch  her

the floodlights  t urn
the woman     ::against::     the world 

interfere with what melts under eyelids
what is n(eat)ly f(old)ed         under her tongue—

carrion of discarded s elves     puppy dog t ails
mutable lifespaces          pie(r)cing   in versions
st ages—

(     a trapdoor   (we)   see)    through     )
this trick that keeps replicating us—

we    the audience    we   the given 
scientific value    we  ii .   the scream        
in our  ad vanced age and its meta-
static elements. full body s nap s hots

f lip the woman     ::sugar and spice::
sunny-side    up

still asleep in her childhood —
[bound s ilk dolls  [ m i s s ing father [
[ st icky kitchen counters [

we divide her into  p art s
a   s low    eros ion
and everything n ice

s H e  )     (  folded, incomplete  as Now, 
as Homework, as Mother    t rapped

in this perfect p/l/eat of l i g h t
only the magician smiles
the curtainii free_ falling

~

words: Daniela Elza & Arlene Ang
images: "Adam and Eve" + "Seated Figure" by Ang Kiukok

~

another Elza/Ang fragmentation: memory revises us (with process notes)