I. L'œil du caractère [Neutraface]

I. L'œil du caractère [Neutraface]

A man must always measure all things according to his own place—Pindar, Pythian Odes 2.34

Where ozonation enforces bromate, the brood out of the reservoir, Silver Lake’s
Picture bindings are sewn; designed to lie flat, and not in the hands of a hausfrau—
Stefan Zweig’s Toinette, who made a child marriage (1932); otherwise blotted
Out by frustrations at home behind the Neutraface font of Couples Skate Only—
Zweig, holding hands; his wife, by an overdose of barbiturates a month’s advent (1942),
The vestibule’s araucaria (1927); really, Norfolk Pine—Near to the Wild Heart (1943)

Of Clarice Lispector—Bettelheim’s Snow White (1976); incipient infections of the heart,
What Freud would have made of her unmissed bite of seven hand-thrown plates—The lake
Of electricity in her lingerie’s single, impure hair—All new needs, their bent angles, are advents,
A Fragment of an Analysis (1905) from Herr K by the lake—Silence punctuates the hausfrau’s
Washing up in a quarry’s worth of terrazzo; the glass walls' break in a hedge mote’s blotted
Sunset at its antisolar point—Demonstration of the photoelectric effect (1905), a cough absorbed in the Homasote; not only

Fireproofing rail cars, their models’ sub-floor—Incident light riffles metallic partitions only
Re-announcing it in the static runner, the stepping off—Duncan’s quick adulterous tread at the heart (1960)—

No variances on the building permit, where pythia is domiciled; swallowed suns, the mated clouds—Blotted

Ixion’s feathered wheel, an entire race of Centaurs—Neutra’s one-room depth pinwheel, the Tremaine House (1948), neither of Silver Lake

Or in imitation of Trouard’s Collège, and Prix de Rome (1780), transformed; Franz Joseph’s Ferris wheel (1897), an advent

Of Leopoldstadt, is set afire (1944)—The cudgel (1968) Kubrick gyrates beyond sight of the Pale Blue Dot (1990)—Hausfrauen

Of Apollo 11, after Earthrise, received them from their quarantine van (1969)—Trivia incepts the hausfrau’s
Garden cuttings—The densest sphere of plutonium compressed with explosive lenses; only
Apparent by the breeder reactor’s fuming coolant—With the first transuranic element of the U.C. Berkeley cyclotron (1941), an advent
Of intentional exposure; the 49’s esoteric meaning of atomic number, 94—Jess Collins surmises the heart’s

Spark gap Zohar accessed in his paste-ups, overrunning the terrible logic of Hanford Sector B, and a blotted
Career as chemist—But here, an antithesis; Neutra’s Von Sternberg House (1935) settled by the screenwriter determined to turn the designer of Silver Lake

Into the Fountainhead, with her own brand of butterfly lighting—Neutra’s VDL of Silver Lake,
His third U.S. commission (1932), followed by ten at Argent place, awkwardly mistranslated in stock industrial as the post-war hausfrau—

After his first coronary (1949); the third would kill him, a civil servant’s purchase of decades, the Oyler House (1959); blotting

Life magazine as they were his own contact sheets—Duncan, man with his lion under the shed of wars (1951); only
In Stinson Beach, aside from Jess, he thought of the stepfather who taught him to be an architect—Passing Neutra’s Kahn House (1940), of an advent
Taking shape in the draft versions—I breathe the smell of steel in the world of the objects (1973), Lispector’s heart—

Unsurpassed, Neutra and Alexander of the 1950s, the opposed Elysian Heights housing project–The hopeful hearts
Conceived into the third and last daughter, a failed cure for syphilis—Berthe, before she was interned on Lake
Constance (1882), is likened to Dora; a dream of the house on fire—Hysterics suffer mainly from reminiscences (1895)—Ernst Freud’s advent  
Visitor, Neutra haunted this desk—Eros and Osiris, all crook and flail, channeling the dream-work of his father’s death, life above the blacksmith’s (1986)—Clarice, a former hausfrau,
Named the image of her insomnia, Oscar Niemeyer’s grid of Brasília; high-rises, esqueletos of inflation—Blotting
As if it were written, the conflagration of her writing hand (1976) by a somnolent cigarette—Only

Of the sometime communist cooperative of Silver Lake, it only bears mentioning heartfelt yé-yé, Mahler—Alma Mahler, after Gropius, Kokoschka’s Bride of the Wind (1913)—
Neutra’s transparent preserve strung with chandeliers, where tear-blotted in-dwellings bring astral chaos to our Ouija board (1942), a lake

Of rainwater’s coursing advent on a hausfrau—From here, an upper deck’s continuity with island vegetation, where our heart is composed—