VII. Sensibilities détraquées

VII. Sensibilities détraquées

The eleventh book of Nonnian Baroque (5 BCE ) is now read for calamari, or pen case—
For open bite engraving to fortify psychic precincts—Le Carceri d'Invenzione (1750)
Ink-dabbed by a tangerine-bruised scape of the marsh reed Calamus—Another surplus
Of white-drying amomum and calamus tallied; rolling back the edges of Piranesi’s Venice,
Featherweight lions in moleca, whose defensive, soft shelled crab and confined delicacy
Disabuses our frontals as occult buildings, with girded masonry construction, by nucleated

Excesses of projection, LEDs of lattice-matched crystalline—Wet air cools, with nucleated
Water droplets bounding off condensers, cisterns’ lotus cultivars—It has always been a case
Of you, the skin’s semiconductor devices; discharged petrichor arrested—The only delicacy
Slipped in there, when I am most unconscious—Ascension II, Eva Hesse (1968), or Carceri
Of the compartment; Strindberg (1894) is forced to breathe in the carbon dioxide and nitrogen surplus—
So absorbing primeval aerosols, the sea coal’s gray flint impressions, the 1751 Venice

Exhibition of Clara the Rhinoceros; with none of the deflating sadness, Pietro Longhi’s Venetians
Rival their horned captive in their tricorns and baùtta—Dürer’s blue roller (1521) cleaves the nucleated
Nitrogen, and densest Krypton for holding water; atmospheres, if not, oxidizing into flames—Surplus
To this digression is the drawing of the Lisbon rhinoceros (1515); Dürer’s later woodcut, a case
For the discouraged Roman newcomer—Piranesi, with neither commissions, nor constraints for his delicacy
Of line—Composing the first volume of Le Antichità Romane (1756) after the flailing years of Carceri

Declaimed a forger, Canaletto returns to Venice (1756) on his leaden vedute ideale of England—For Carceri
With laminaria swathing foundations—The once reed-cloaked, Taurian Artemis; an emphatic outturned comb of a torso, the Venetian

Piranesi offers the Holy City as simply, Vedute di Roma (1740s-1760s), and it is this savage delicacy
Of an obelisk foregrounding the Papal Palace; the center-most horse watering a nucleating

Phantom of antiquity in its trough; for these assigned mental edges with longing’s incapacities—An honorific surplus,
By the Society of Antiquaries of London (1757)—Foregoing Mozart and Casanova, already Raphael and da Cadore’s case

Ordine dello Sperone d'Oro (1767)—This latter, non-figural catalog of winged cart-oxen, for Apis bull inscriptions casing

Alexander VII’s workers heaving the pyramid's tumuli of a Via Ostiensis priest-magistrate; the Carceri

Nitrogen-fixed, nacreous; by then stripped, of Domus Aurea (1772)—Acanthus friezes, surplus

Sphinxes, their droplet chains to Piranesi’s purveyors at Via Sistina for détraquées—Impassive beauty obliterated by Venetian

Storms surging a closed end of the Adriatic—Piranesi’s Tempio d`Iside invites the delicacy

Of the Mozarts, the librettist of Die Zauberflöte (1791)—Above a motionless Osiris, Isis’s hollow stalk nucleates

Egyptian’s haloed peregrine—Night blowing cereus of Thornton’s Temple of Flora (1799), whose nucleating

Quartz gravel casement of cristallo, with hands between XII and I—Bottle green casing
Nilotic water, of each sand grain’s ionic radius, the soil’s nitrification and chain oxidations—Delicate

Panels of la cérébrale’s gas-thermal nitriding take in the conned calamari—Moon jibed in knotless Carceri  

By a glow-in-the-dark plastic tube, a thousand feet of clear fishing line, as the analyte’s surplus

Dilates spectacularly into GC-MS; its nitrogen carrier gas filling the coiled column’s watch spring—The Venetian

Piranesi crops grotesschi his entire life, for this ambigu—The rational mind nucleates Venetian
Creeks, but for the fertilized surplus of reeds breaking underhand; under the sense of your touch, Strindberg’s crab
That has cast off its carapace—Doubled for the delicacy of entering it, gridded Carceri of Ulster’s The Inn of the Dawn Horse (1936-7), whose seventh fugitive and rocking horses split open, after these sprints, into Self-Portrait