Zayin (67). Inspirer un respect mêlé d'admiration
Then came the confirming flash, a white streak of revelation. Such as simple change! Not even a change, a mere translation of the German compound, and her drab name turned into an incantation, a name that could blaze and blunder on Broadway. She pushed aside the dress, seized a pencil, threw open her biology notebook to a blank page, and hastily printed [Marjorie Morningstar]
—Herman Wouk's Marjorie Morningstar (1955)
The love you felt for me led you to love of the good. He should have written: The love I felt for you led me to love of the good.
—J.M. Coetzee’s El Polaco (2022), The Pole (2023)
Marjorie: Before the days of awe; while in your absence, when an arresting, unwelcome white Great Pyrenees hound saunterer
Circling the block, becomes the same dawn prowler faltering at the storm windows, a xavecar—Portuguese flirtation and verbal form of a pass made; xaveco, or xaveca, its recipient; in either, a dubious transport ship soonest shoaled—Perhaps, a pirogue, as it arrives crashing on the feminine steps on which a quartet of black cats were fed projecting a sideview of reversed chandelier 1100 centigrade enflamed Tithonia, Mexican sunflowers from reclaimed-lost packets sown near late season August’s disturbed micro-vortices of this Mamaroneck snail nursery walking distance from the Winged Foot Golf Club closed to Jews until the 1990s—Heeded in the conversational drift about Niemeyer
Particularly, Palácio do Planalto, this purpose-built airplane hangar with reflecting pool to greet foreign dignitaries to celebrate the opening of Brasília (21 April 1960)—Residing between weekday headlines, l'ocre brûlé et laiteux du ciel of the Saharan sand-clouds over la rentrée scolaire de Paris (2023) exceeding safe microgram per meter inhalational thresholds—Another academic year to hold or HODL
Hold on for dear life—In-bas relief roundels at the 72th Street main entrance, who are the Singer Sewing Machine’s Isaac Merritt Singer and Isabelle Eugénie Boyer; the latter a Bartholdi model (1875), whose profile bears a striking likeness to the statuary of New York Harbor (1886), and atop of Dakota West’s street-level buff brick common bond (1884)—
What is left to be read of Birmingham’s Life at the Dakota: New York’s Most Unusual Address (1979)—The apartment house's H courtyard with room for a carriage turn, extends above with views of Central Park; often framing the skaters, and achieves there a theremin's indeterminacy of sketched curvilinear scales deployed in Niemeyer’s architecture—Employed by the first Frenchman awarded the Pritzker Prize (1994), Christian de Portzamparc, and his work identifying a polar curve; nonetheless, nested petal
Milton: Form of the Luxembourg Philharmonie (2005)—Summoned with the perspicacity of Xavier de Maistre’s survey of this room (1794), where there remain the number of rose petals
Staying n or 2n when n is either an odd or an even integer, wherever there are ions of our sights, the saunterer
Sans terre on speakerphone—After taking a case, onto the Philadelphia Museum of Art, which houses Whistler’s Lange Leizen of the Six Marks exhibited at the 6th Exhibition of the Royal Academy (1864)—The improvised sitter if to ground the porcelain's dimensionality, which is the real subject of modern life in Baudelaire’s dedication to Constantin Guys, Whistler’s contemporary—By the seventh quatrain, Rêve parisien
Spread between the quays of rose and green [translation, mine] recreates le travaille entre rimes féminines et rimes masculines—Standard Oil's Peter Nitze, resided in the Dakota, overseeing America’s conversion of whale oil to fractional petroleum with increasing quantities of hash auguring the death of Les Fleurs du Mal’s maker before the definitive edition (1868)—Far from Fauchard's Le Chirurgien Dentist (1728), situated in the dental school of Philadelphia (1852) founded after Baltimore's in 1840, thoughts of you in the office above the flaring city agape in the glow of ultraviolet light curing 320-500 nm bonding
Of a dental crown, the inevitable despite scrupulous routines after rich meals coffee-awash para xavecar
Clientes—The offending molar (16) ascribed to the triple burner meridian; and then, to use the adopted language of Brazilian cerrado you make your own a deployment of speech that is solicitous and shameless, and then a step beyond any commonality in multiple languages—Anticipating the fastest-melting Ruwenzori Mountains of the Moon Cervantes mentions in Don Quixote (1604) particularly, to speak of the leeched oxisols foreshadowing weathered terrains of Mars—To cite Sainte-Beuve on Baudelaire’s base camp at the far tip of the romantic Kamchatka (1863); now, that the reach is interplanetary, to HODL
The structure's fair-faced concrete strung with airplane lights with hydrophobic coatings for Martian winds maxing in the thin atmosphere at 100 kilometers per hour (62.14 mph)—Hosting another interpreter of Chopin, Contarini and Niemeyer’s
Marjorie: Museu de Arte Contemporâne (MAC) de Niterói (1996) rises bloom-like over another Boa Viagem to restate Niemeyer’s
Preliminary notes of his concrete realization of a flower in Rio de Janeiro—Space Age at the time of its drafting, the Flor do Cerrado television aerial with offset domed calyces broadcasts the semicentennial review of Brasília (2012)—The renown of the national breed, the Mangalarga Marchador bred for such ambling gaits, and rendered conformationally disabled to trot—With all his chemical supports; Mike Eden reading thick books on the viewing deck of the Queen Mary confesses to a dissertation lifetimes ago on the dreams in Dickens’s novels—Reminds that the terminal pedal
Bone analogous to you and I striding along on our middle fingernail, and wise to have taken leave of these displays of hair-trigger nerves wrung on the equatorial glaciers of each relapse—Reckoned
by connections to reset; not for you, and not wistfully, to HODL—
Nevertheless; to mention the looking up that picture in the Tate Gallery winning the gold medal of Napoléon III; unknown to the Emperor and Second Empire renovator, this heir and last of the dynasty falls holding an empty brace of pistols as he is routed from seventeen tribesmen’s spears in Qweqwe (1879)—What followed Sir Edwin Landseer’s entry at L’Exposition Universelle (1855), is an explosion of engravings of this quotidian scene of a farrier, Shoeing (1844)—Saving Landseer from financial ruin, and being bestowed the honor to model the Trafalgar lions (1858) from a casualty of the London Zoo, with the concavity of spine and cat’s paws notwithstanding analysis of enlightened saunterers
With the strongest suggestion they were modeled on dogs or the sculptor Marochetti’s improvements on the bronze casts (1867)—Mallarmé instituted chaos in the displacement of a scoundrel, a xavequiero When his posthumous Un coup de dés jamais n'abolira le hasard (1898), finds both shipwreck and its recovery, the 707-word text scrutinized with the same guise as white-collar bond
Milton: Reversals—Following prices of borrowing, with the digital foregoing debt hedonics with our word as our bond—
The system conceived in 1869; riders along the decrepit Manhattan Transit Authority adhere to the outdated transit maps (1979) and tracks interlaced with lasers on watch for suicides and those randomly pushed from behind—Gautier, on the decadent tendencies of then salonnist Baudelaire one cannot charge with misuse of a language already veined with the greenness of decomposition (1848)—There is seventeen-year-old Édouard Manet in Brazil (1849); unfit for the Navy—Were she not married to his brother, Berthe would become a very obvious unmarried daughter; a passante, the woman he did not marry looking away on the balcony (1869)—Encased in sound; steadied with an earful of Bach chaconne, so much for the downsides of Brazilification; Niemeyer’s
Radiant City, and the urban density confined to high rises contingent on interstate highways—Alternately, in the most pedestrian City, one arrives among the Saarinens of the world, to pre-rehearsals when their parents paid for their position in line—Expelled from the subway, the flatterers, xavecados
On Baudelaire, where the archives remain; are silent, why he left his last l'année scolaire and said of his impromptu trip to the Pyrenees (1838), a great Incompatibility of plus morts que la cloche lointaine / d’une vache (lines 11-12)—Mark Tansey’s The Innocent Eye Test (1981) in the Met not currently on display with the original in the Mauritshuis (1647), if to pedal
Priorities whether it is the bull of sex without a handler versus the sham sustenance of Monet’s Grainstack (Snow Effect) (1891)—Saunterers
Through the Galerie Durand-Ruel's fifteen canvases of Monet's haystacks (1891) go on in doubt, and HODL
Marjorie: Long-term projections unaffected by volatility—By that trope of Bruegel and Bosch of the haymaking, and a season’s labor potentially lost in one spark—Rather; the fresher forage with humidity above 25 percent continues to respire, and to spontaneously ignite—Hodling
The Durand-Ruel & Sons gallery of New York (1887), whose photographic inventory suggests more at sea; are formerly divided in 1950—Notable among the negatives, a copy of an original of a work by Jean-François Millet, whose manufacture reflected the maker flushed by a cholera epidemic to the Barbizon, The Sheepfold, Moonlight (1856-60), which ends in the Walters Art Museum un-displayed among sacrophagi and two Fabergé eggs—The Gatchina Palace and Rose Trellis specimens (1885) recently exhibited through the generous support of the Bank of America (2018), the former Bank of Italy (1903)—Their operators embellished in the drape of Thomas Burberry (1856), who opened his first establishment on Bond
Street, where the station descends with purpose-built sluice and anticipated suicide pits above live lines (1926)— The Haymarket store (1891); eponymous with the famous check, an inner lining displayed in Paris inside-out, further popularizes the gabardine that ascends Everest with Mallory and Irvine (1924), and the one-time North Face pocket camera lost documenting all is still sought by mountain saunterers
Bored with life and the impediment of geology, the undefined sedimentary record down-crept and pulverized by the march of ice, and becoming more lunar in aspect; matching the sensibility of the plane city of Brasília abandoning the colonial freight—Oscar Niemeyer’s
Complexo Cultural da República (2006) achieving a moon base's exterior at night, whose annulus staircase surveys the Eixo Monumental—Contemplate the nearby building postcode assigned to the Edifício Copan (1952-1966), the sinuous brise of São Paulo that boasts persistent water infiltration, detachment of façade from 38 storeys refurbishment decades in planning yet misaligned since the Latin American debt crisis and synchronized parade of leftist presidents intentional in disarray as aqueous chemistry and volcanic churning—Tantalizingly; not one meteorite from Vera Rubin Ridge arrives to Earth, though Martian rovers pedal
The surface with squat viewfinders and milligram samplers powered by plutonium’s decay—Rework the hematite of the cave dwellers's ochre reclaimed here from industrial mine tailings; consumed in their action, xavecar
Milton: Of desolation—Louis Kahn’s employed modernist reinforced concrete for wrapping ruins around buildings—His remarks made on his offerings signifying a temple for art, at New Haven (1953), for medicine, at La Jolla (1965), and for learning, at Philips Exeter Academy (1972)—Then the folly when the architect collapsed in the men's room at Penn Station (17 March 1974); the days until his body is requisitioned from the city morgue among vagrants destined for the potter’s field, until the curious opening the briefcase containing blueprints for Four Freedoms Park (2012)—Not one, Marjorie, to have an affair for the sake of learning; Kahn's colleagues and their natural children appear at interment—Name just such a psychic shelter with your mettle of vanadium steel despite the indeterminacy of blockchain mining—Our steps just beyond disqualifying ashes of the red heifer those thoughtlessly xavecados
Tainting the sancta, themselves—Consumptive Chopin; holed up with George Sand, and her two children, one winter in a Valldemossa charterhouse (8 November 1838 – 13 February 1839), whose output included Prélude in E Minor (Op. 28 No. 4), which played at his funeral (30 October 1849), and for hodling
Holding on for dear Life—Surviving cancer and a stroke, Jane Birkin’s reclaimed night by herself (15 July 2023); unlike those unnamed, would-be coeds, her dream life is once again foreshadowed by the reprise of Jane B. (1969), Serge’s swansong for without her knowing; this time, in cello and piano for Deutsche Grammaphon (9 June 2023), une fleur de sang à la main—On the carpet, the victim, at last, matching her description arranged cold-bloodedly; as was his way, in the wake of a splintered door frame and scattered vase petals
Who knew she would be alone, when sleep is 1/60th of death, if to prove the Neshama exists, could it have been a neighborhood saunterer—
The bridegroom having tread on a broken glass at commencement; therefore, making him less vulnerable to attendant horrors of their bond
The Temple razed and the lost gift of prophecy; little foresight requiring a shock to initiate, for this such a misconstrued Neimeyer (2001)
Proposes a constructivist model of grief; influential with its own infographic—The architect Niemeyer’s utopian design meant some arch methods as though he liked to tease the girls at school, Ele gostava de xavecar as meninas da escola—
Marjorie and Milton Schwartz hodl unless they release the present far beyond or else set fire sintering the petals of the natal and fatal idiom, saunterer and auditor
dans les ciel de lit—
