XIX. Un déjeuner de soleil

XIX. Un déjeuner de soleil

As for runners in blasting ice water, for plague bales, washed in a mountain’s
Gold-leaf, where the merino’s fleece thins; there, the thread will break—

A face’s sizing of hostility, or The Ruined Map’s (1969, 1970) plucked spring
Steel of an automat—The pitched planks of Le Radeau de Méduse (1819) crazing

Waves over Giacinto Scelsi’s Le poids net (1949); the asphalt brain, physiologists

Are to politics what entomologists are to agriculture—Balzac’s La Cousine Bette (1846)

           
Picasso’s glance forgotten on the chest of drawers—The yellow shawl, seemed to Bette
Undeteriorated in its case, papyrus imparted by the straw-yellow of its umbrella's mountainous
Dune wadis, the struck leaves of centuries—Manetho’s Dynasty XIX, on which physiologists
Recall abscesses, arthritis, or colorant later corroborated by the L'Oréal Group, Ramses II breaks
The nemes headdress in sandstone—All the more to be seen in the Sun, Spring 1965
Abu Simbel’s first block was cut of the principal wife, Nefertari, and it was through crazed

Portraits of Picasso’s women, he sought pardon—Only a black hole would appear, the crazed

Kohl spirited into a precipitate; Manet’s Espangole (1862) scintillates the proscenium into flames as Bette’s
Yellow rose of Paradiso—It is prescient the bronze group of Samson tearing a lion to pieces springboards

The bridegroom, Wenceslas; Montés, the unexplained lion—Lisbeth, ending life as a lioness, from her mountain
Race—Valérie blocks the dull lines she is read; Fantin-Latour’s La Lecture (1877), whose black is singly suited, a physiologist
Declares malignant; as an old girl, or her substitute, a matron, or Montesquiou’s bat-winged moustache; his teeth break

Their screen with a mercuric patina—In the shadow of the nonexistent husband, this, her life, another broken
Binding finds a place in Nietzsche’s library—Marceline Desbordes-Valmore (1786-1859), her make of the ceramic-crazed

Atmospheres, where a cypress winds through every line—Blackmail was preserved in sweet syrup—Physiologists’
Bile acids concentrate during fasting, and thin to lemon yellow, the surface of a Braun tube—La Cousine Bette’s

Reel of silk becoming vertiginous, Balzac repurchases the pilfered letters (1864)—Preserving the black estrus of spring,
The black letters underwriting Lola de Valence—Le déjeuner sur l'herbe (1863), from the mind’s mountain

Just before a damaging hail, Bette reaches for her reflection in the footpath’s mountains
Mistaking the sitter’s white shoulders as an optic nerve outlet; Scelsi’s deepest secret / suddenly white surface (1986) breaks

Into the ostinato of Boléro’s Ida Rubinstein (1928), and it is an envelope dictation; resprung
From a walk, Picasso submits, I tell myself there is pain ahead (1932)—A phrase rarely uttered from a crazed,

Incipient biography, Manet’s stridulation to a Victorine from 1954 to 1970—In Les Déjeuners, there is a physiologist’s

Visual hierarchy, and always the cross-legged sitter of the portraits—Short of the Sun’s precursor, Bette

Poses the angularity of those mysterious creations, of the Egyptian sculptors of Nefertari’s temple—Bette’s
Eastern-lit hypostyle is bottled up by renewed notes of debauched victims, where mountains
Of sand render it inaccessible; painted with sable brushes of The Woman in the Dunes (1962, 1964), whose maximal physiology
Conserves beading water, on the white-black pavement, the Picasso lithograph of a former life at the Madoura pottery, a broken
Chalk dove of peace on a house front—All to congeal in one name for legal process, by the spring’s
Insistent notables (1973)—Kurosawa’s Sanjuro (1962), and the wasted lacework of mulberry leaves, a 30-year blooming camellia’s crazed

Performance of hand-painted red double blossoms; beheadings, frozen in their gravity as, the crazed Bette
In her meanness, the less care in her appearance—On her stasis, we could throw out broken physiologies—
Picasso’s windows and mirrors blocked by darkness—Mont Sainte-Victoire, the hanged man’s house before sunrise (1873)—But for Scelsi, signed, a line under the circle (1949)
                                                                          et l'inconnu grandit avec les
                                                                          décombres