In Flesh of Leviathan, Chus Pato alters her cadence to record, in sombre lyric form, the direct address of a singular voice that seems to emerge from time itself. In these poems, worldly things are largely absent and those present are iconic: birds, skies, winds. Through them, Pato articulates the possibility of thinking, the foreignness of any thinking subject, the borders to be crossed to move thinking forward, and the relation of thinking with time as humanity approaches—or not—time’s end.