The Frog

by Glenn R. Frantz


Their eyelids are placed several kilometers apart.  The tongue, out, mimics the book court.  Blunt bodies taper to diffuse at the clasp.  Teeth but no claws, and the legs of a limerick.

The myriads hatch from egg-shaped night.  Dante called the proper setting for William of the Tadpoles "The Confection."  In this way, too, it was long immersion in the corners of spring, as in the face of burrowing caution.  They swarm onto matted roofs and become a pirate radio station, not as a sessile resistor, but rather they serve the position of a spherical Earth.

Their planetary chants curl liturgically, to have their quaker at the world.  Antiphonal adults reflect their lateral frog songs and a unit is omitted.  Negative frogs were made on tape recorders solely for the science of the film soundtrack.  Rubbing it through a decklid that casts the frequency content, lessening the stage for large flat surfaces based on the larger category of ponds, or even: The music drowned out the containment.

Then they rail the dark to describe a series of scenes with fresh gilded color, and caramel Minnesota was filmed either by reinterpreting graded eons, or by unpaid hydration.  Flown by a string of fondant community, the typically Baroque trompe l'oeil appearance is also a cosmological activity, the presence of the Basilisk's dreams being dreamt about, like a parody of mysticism.