Two variants--likely influenced by Aase Berg in its use of repetition (tho that of With Deer is more emphatic, and I don't have a love of heavy-handed adjectives; what is it with her and "Evil"!? Evil landscape this, Evil that, and that, and that):

In the appall there is an atoll. Eventually there. Fine sand. White fine sand. Palm frond on sand. Sand on fronds. In the appall he dreams of apples. Air appears pixilated. Pixel apples fall on sand not white nor fine. Someone must not be there. Not someone but there is there anyways. Water temperature is rising; hotter and hotter laps the sand. Hotter and hotter rises and rises and rises; the atoll becomes closer and closer to being submerged. Picture palm fronds appearing to float or at-least sway akin some species of seaweed. Many atolls are palmless. Pick up sand; let your hand love. The subject is disappearing or already departed; what emerges in its absence or does anything? Not thing—occurrence. An appall mutates—apple dapple. Then pines needle. A pineapple sweet juice. A rosin tinted horizon—a resin-slow breath-metric.

In the appall there is an atoll. In the appall he dreams of apples. Air appears pixilated. Pixel apples fall. Water temperature is rising: hotter and hotter laps the sand. Hotter and hotter rises and rises and rises; the atoll becomes closer and closer to being submerged. The subject is disappearing; what emerges in its emerging absence? An appall mutates—apple dapple. Pines needle. A pineapple sweet juice. A rosin tinted horizon—a resin-slow breath-metric.