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What you might consider straight, one-dimensional lines were similar, in effect, to lines of handwriting made on a white page by a pen that shifts words and fragments of sentences from one line to another, with insertions and cross-references, in the haste to finish an exposition which has gone through successive, approximate drafts, always unsatisfactory; and so we pursued each other, Lieutenant Fenimore and I, hiding behind the loops of the l's, especially the l's of the word "parallel," in order to shoot and take cover from the bullets and pretend to be dead and wait, say, till Fenimore went past in order to trip him up and drag him by his feet, slamming his chin against the bottoms of the v's and the u's and the m's and the n's which, written all evenly in an italic hand, became a bumpy succession of holes in the pavement (for example, in the expression "unmeasurable universe"), leaving him stretched out in a place all trampled with erasings and xings, then standing up there again, stained with clotted ink, to run toward Ursula H'x, who was trying to act sly, slipping behind the tails of the f which trail off until they become wisps, but I could seize her by the hair and bend her against a d or a t just as I write them now, in haste, bent, so you can recline against them, then we might dig a niche for ourselves down in a g, in the g of "big," a subterranean den which can be adapted as we choose to our dimensions, being made more cozy and almost invisible or else arranged more horizontally so you can stretch out in it. Whereas naturally the same lines, rather than remain series of letters and words, can easily be drawn out in their black thread and unwound in continuous, parallel, straight lines which mean nothing beyond themselves in their constant flow, never meeting, just as we never meet in our constant fall: I, Ursula H'x, Lieutenant Fenimore, and all the others.
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