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The poem arranges revelation as a chain of flashes where consciousness, sensation, and praise erupt in quick bursts.

Single words like mind, flash, drug, flowers, and Eden make the piece feel like an explosion of associations rather than a continuous argument. The movement from splendor and glory to tunnel, vibration, visitation, and Einstein links ecstasy with science, danger, and perception. Even in fragmentary form, it reads like a mind trying to name sudden intensity from several angles at once.

'Explosion': a vertical column of single words - 'Our / Mind / Flash / Drug / Like / Flowers / Green / Splendor / Find / Eden', through 'Tunnel / Rain / Vibration / Visitation / Human / Safe', ending 'Einstein'.

The form is the content: an explosion rendered as scattered single words falling down the page, syntax blown apart so each term lands as its own flash. The chain runs from consciousness and chemistry - 'Mind', 'Flash', 'Drug' - through ecstatic nature and 'Eden', then into 'Tunnel', 'Vibration', 'Visitation', linking rapture to science and danger at once. 'Einstein' arriving as the final word is the page's joke and its checkpoint: the vision's last station is the name that means scientific rigor, as if the burst of association has to be signed off by physics. Refusing to connect the words with grammar is the page's trust that the reader will supply the detonation between them.