The histology of an eternity

Even if most of these modifiers are pretty essential - I definately agree - it doesn't mean they can't be slipped in differently. Sometimes I think poems just use too many in close proximity - like this line:

"I scrutinize this sticky contradiction / with passionate detachment"

It might just be me, but a lot of adjectives throw off the rhythm of the language when I read what's there - particularly if it occurs line after line after line (which isn't necessarily the case in this poem.) So "passionate" is essential to the irony, but I like the way it reads without modifying "detachment". Or sticky can be used elsewhere too. Hence, if it were mine, I'd be looking for another way to slip passion in there somewhere to convey the equivalent irony, while at the same time avoiding the typical adj noun sequence. In other words, I'd look to shake up the grammar, slipping in the modifiers by different creative means. Move them around a little bit, put them in unexpected places, or even change them to verbs or nouns. Weird, huh? I'm really picky about adjectives and adverbs. Anal retentive even. but for me its all about the sound of the language and grammatical rhythms. As if that makes any sense! Varied grammatical textures then. In this case, I'd maybe just drop "sticky". Or maybe I'd move "passionate" down to modify fissures, or replace the "and" (following the line break at lobes) with "passionately" (at the expense of a more immediate irony.) But then it starts running up against "disengaged".  So, I don't know. I'd put some distance between all the adjectives, though, and play with the language.

Being anal retentive today, I like the sound of "sticky fissures." kind of disgusting though. 

As far as line breaks, there's another solution to adjectives - experiment with breaking the lines between adjective and noun. Sometimes that can create some really striking enjambment or purposeful misdirection.

Whew. I'm long winded. Somebody slap me.