XX. Avaler de travers ma salive

XX. Avaler de travers ma salive

Liquefied, their progressive erasure of corrugated detergent film—
Acid within the mouth’s bounding curve, the body’s swipes, parching
Swiftlet nests interrupted by the dark breakers, this hand’s oar clasp
For braided linen—Lacking pored cumuli, pitted Pirelli warehouses (2003), Anselm
Kiefer’s lead in the banded corals, their dissolved coverings of cry dampening saliva
And you more swift beneath the lightning (1942, 1949)—Alexis Léger’s

Prevue of fondant roses thawing into conspicuous, and feigning, iron roses—Léger’s
Poème à l'étrangère (1943, 1946)—Kiefer’s handfuls of the world Ash, a dust film’s
There but for condensation nuclei restoring clouds, for wound-cleaning saliva—
The regimen’s diurnal antibody inundating cardinal roses as occasions for parchment,
Outpouring, from a hangar’s unleveled towers—On a shoreline’s entablature, an unclasped
Walk across a pin-covered surface, the parched straw pickings of forced labor—Anselm Kiefer

Strands Hero’s hair, abandoned calipers, on seascapes (2011)—Scattered sea-buoys of Anselm
Kiefer’s Now, you can see the Rhine is gone completely (2008)—After Xenophon, Léger’s
Anabasis (1924, 1930), the Black Sea’s capsized off Trebizond (1915); scabbards, their garters unclasped

The woman, herself a shore (1957, 1958), discharges the vessels—Lead sweetened many palates, filmed

Flint glass into tracery, to receive, n'ai-je donc tant vécu of unacquainted tongues fastened, transuded as dog bite saliva—

In a manner of speaking, submerged ingots subdivide particles, and revolve into parchment

Sheets of sunken foundations, wells and drains of saunas—Gleaming inscriptions on lead parchment,

Desires decaying into the commonest sayings; those future compresses of acronyms of Anselm Kiefer’s

Book with Wings (1992-1994)—Cryogenic Underground Observatory for Rare Events (CUORE); all the saliva
Skimming, initiation for swallowing, to track the particles under the wing of the night (1906, 1911) by Léger’s
Crusoe, by all thoughts transmitted without rebounding in language—Folly of the essence unclasped

From consciousness into the vacuum of probabilistic distributions—Longing for a winding sheet’s film

All over again, for dragnets of the teeth—Silent witnesses of scraped hulls of two ships in the film
Of night; anticoagulant saliva’s extended window of stroke management, or one side of the face as parchment—
Twenty leaden beds, with wavelets of vacant haunches, Les Femmes de la Révolution (1992); the unclasped
Mittelschmerz cooling on the slab; such actions utter silence, oral linings of funereal satin, the same Anselm Kiefer
Pries open—Salt routes revive the dead mouths of desire (1924, 1930); unlike an estuarine crocodile’s rank saliva;
Deprived of the strength to  reopen, they migrate up the landscape again as patina, Salt of the Earth(2011)—Léger’s

Contaminated gray salt concentrating electrolytes into some length of bone, a reserve of Léger’s
Convoluted exiles, there is no higher usurpation than in the vessel of love (1957, 1958) filmed

With rain, or emerging from the bath; such details are uncertain—Wide-open hieroglyphs of saliva
Scan for the other’s crooks and groundswell meetings; for immunity’s thinning parchment,

Derived from Pergamon, of which Xenophon gives the nascent account, and yearning for unclasped
Opposites; cupolas hide and vent the heat of their anticipation—Emulsions on lead as Anselm Kiefer’s

The Milky Way (1985-1987) reflects the superfecundation of halo, spiral arms, of Kiefer’s, Léger’s

Roses and bitumen (1924, 1930)—Saliva’s diluted seawater sweeps our acid mantles as new parchment

Vellum; belying as pier pilings, of their lap marks, and memory’s cut film beneath, we are loathe to

unclasp—