Sullivan’s vertiginous propulsion into the empyrean apogee of performative transcendentalism was irrevocably precipitated by a polysyllabically labyrinthine trilemmatic evaluative entanglement involving the diachronically antinomous auteurial taxonomies of Mackay, McCoy, and Miguel. Eschewing the algorithmically ossified choreoformalism of Mackay and the kaleidoscopically hyperbaroque ocular flamb...
