When she squats to piss the man on the leash pauses in his walking satisfied. It is whole.
Quite and entirely teleoletic what's going on each moment unconsidered by him (by her
who knows). The most is that she is considered to've chieved tisfaction 'f 'er own.
Affection.
Years pass. He wakes to rhythm of loudfast breaths and whoops, say five-and-two. He
finds her and lifts her from beside his wife on the floor away from that room and pulls
the door to. She still in his arms (affection) begins pissing and goes on to piss what he
considers an enormous amount. He notices that near what, it turns out, is the end of
her pissing, the flow is not constant but characterized by spurts, just as his pissing when
he pisses is characterized.
He lays her down and cleans up. By the time he is finished (it is not long) (affection),
she is asleep. He considers her and reckons the loudfastbreath-and-whoops rhythm had
neared five hours.
He writes this.
This poem is part of a series called Reels from the Dictionary of Knees. The poems in it are not about the movies whose titles they take; rather, each poem was written and then a title was applied for its aptness to the sense I had of the poem.