XIX. Une photo à contre-jour

XIX. Une photo à contre-jour

He was strangely grotesque when he ran—Camouflaged along the path

Of totality—Demenÿ’s celluloid film (1892), "Je vous aime"—This telescopic

Contraction, to be accompanied by phonograph, reads like a solar eclipse’s

Oblique band gathering all others into it—Splinters from an ancient yew,

Whose curled fingers of sunspots become the same point of assorted bows’
Composite decoding—Our consecrated ground modeled after pressure ridges

Of our hands—There, the horse’s four feet are off the ground—Muybridge’s

Membrane as gelatin plates (1872)—12 box cameras 21 inches apart; the path’s

Ten meters assigned, Helios, their shutters tripwired for a vehement gait bowing

Him 12 years earlier from a stagecoach—1860, Marey’s sphygmograph telescoped
A radial pulse into the same striking in your nape—July 28, 1860, a total solar eclipse
Entered the photographic record with Warren De La Rue, 27 railway observers—Yew

Self bows are cut from the radius—Toru Dutt’s Casuarina, allied to Borrowdale yews,
Enlarges the rind of life—About 10 on Tuesday night several very long trains—Ridges
In Bardon by omnibus—29 June 1927, Virginia Woolf remarked on the 25-second eclipse
Of totality—We had seen the world dead—Philip Carey (1914); his clubfoot’s staggered path

Uninterrupted by praying, is Maugham’s agent in Malaya—The Casuarina Tree (1924) bows
Public curiosity for the murderous wife of a tin mine owner—Speaking as one might, with forward telescoping

The project of photography—Maugham leaves his wife arraying interiors in all white telescoping
A solitary casuarina tree in his autobiography, into the 12 acres of Cap Ferrat, where yew
Trees are trimmed into bonsai—Unlike hedges of the same kind at Monk’s House, which bowed
As its holder arrived home during a 1940 bombing raid—Her eyes stunned by intervening ridges
Of the commonplace—After the First Impressionist Exhibition (1874)—Nadar’s name eclipsing
Such an occasion, written on the façade—Janssen’s 48 exposures of the transit of Venus, a path

Comprising 72 seconds, December 8, 1874—Channeling Maldoror, we chart the creation’s path
Before a fortuitous meeting with a sewing machine—The Lumière Cinématographe (1895) telescoped

Centuries—Almayer’s Folly (1895) circulates after the Sorbonne’s receipt of Autochrome—Eclipsing
His daughter’s wishes, the Dutch colonist combs for a Malayan gold mine—Churchyard yews,

By some degree, incorporating shuttles of foot-pedaled sewing, to end mourning of bowed

Tailors—Man Ray inscribed Le Violon d'Ingres (1924) effectively removing purely sensual ridges

From nude portraiture—Londe’s 12-lens camera archived ectopic foci of the brain, its ridges

Of high pressure—In 12 stills of a frightened horse falling into the river (1883), the path
To the pontoon bestrewn with luggage—In embracing, we detect incompatibility in the bow’s

Death work—Between the photosensitive grain and undulating waves telescoped

Into the 49-second narrative, L'Arroseur arrosé (1895)—The longest annular solar eclipse
Was that year, during a New Moon as today—Hollowing from inside, the unaccountable yew

Tree’s age; my nonchalance had affected, and is overthrown from ridges—Plucking the yew
Telescopes consciousness, our bowstring—Janssen’s 587.4 nm line in the solar spectrum

Discharging helium (1868)—By this method, we approach the path of eclipses, transits to the limb of Sun—