XI. Un puissant [vaisseau cosmique]

XI. Un puissant [vaisseau cosmique]

The proprietary fishing line’s power exercised in a Niagara’s flow
Shapes the hemispheres, to foam and welter cattails, lotuses of microglia—
Petrarch’s Hippocrene stalls Les compagnons de Jéhu (1857) in a culture war—
Routing terrorists before its reverberant and depthless Fontaine-de-Vaucluse
Where its water wheel hammers rag paper into fine sheets, into aromas
Of discretion—Their mothers were both pianists; Poulenc and Stockhausen,

Consequent of thought, a commune’s paired silver shadow and trout—Karlheinz Stockhausen
Debuted Oktophonie (1991) in a former fish market, for the strings’ tremolo flowing

To space; Louise de Vilmorin’s C'est ainsi que tu es (1943)—Zodiac music boxes’ aromas

No longer confined to their cylinders and combs—Migrating from bone marrow, microglia

After brain-derived neurotropic factor, pit the mind’s plate armor, for a flight from wartime’s

Seed fortune (1743) onto the king’s former hunting grounds—The exsurgence of Vaucluse

Cousteau (1946) first breached 46 meters—René Char’s Le Soleil des eaux (1946)—Fontaine-de-Vaucluse
In the matching slipcase—Reaching the summit of Mt. Ventoux (1336), the book fell open—Stockhausen’s
Aleatory method; CCI (1367) Valle che de’ lamenti—Fish constrained by the green banks in war
Recollections where Braque summered along the Sorgue, Black Fish (1942)—La Fontaine flowing
In wonder, Poulenc and Éluard’s Les Animaux modèles (1941) as the exotic fish stocked at Vaux (1661)—Aromas
Of the just pruned trees; Donnerstag aus Licht (1977-1980), Mondeva sings for Stockhausen’s mother at Hadamar (1941)—Microglia

Supplying its synaptic role; otherwise, Braque’s crossed fish remain two canvas slits—If not for microglia,
Night is left crying its in apron (1937), Charlotte Smith’s XV from King’s Bench Prison (1784)—The first Fontaine-de-Vaucluse
Dive tied to Didi Dumas, of flooded suits and loosened limestone, the air compressors recycling aroma-less
Carbon monoxide (1946)—Braques on Vaucluse, crossed cues, where Le Billard (1944) is broken by its meteoric well—Stockhausen’s
Procedural instructions to the ensemble, after a boarder guard uncorking Lourdes, so much wartime
Fish without news wrap—Jacques Villon's color as bait / with drawing as the fisherman's line (1957) flowing

From Le travail du peintre (1956)—And the nocturnal rose / and the blood of the crowd (1926, 1956) flowing—
Peripherally immune; to freeze in place, immediately, in the familiar setting a second time—Microglial
Molecules, provocative and benign, are to Poulenc’s twin heredity of Paris and Aveyron; and because of war,
Unqualified—Miles Davis and moment form—Alphaville (1965), The Cerebellum as a Neuronal Machine (1967)—Fontaine-de-Vaucluse
Suggested by two rising plates of sheet-glass of Braques’s Le Billard (1945), and Gala’s aroma,
With the abacus-barred window framed by helices—Hymnen (1967), which was composed of national anthems, Stockhausen

Scored La Chinoise (1967)—Tyranny beloved of all, or one alone; de Staël’s Corinne is now married, on holiday, before Stockhausen
Warms the cathodes for Set Sail for the Sun (1968)—Week-end (1967) paints the feed-forward film as a stripe of motorway flowing

Through a mesh of spinal inputs; Maldoror, to the ocean—All traipsing in the crown vetch, the aroma

Of burning tires; yet stronger still, the flame of Hymen back-lighting the cook, with a fish—Microglial

Insult, revisionism, and vulgarization—Éluard attends the Stalinist tribunal (1950); Celan’s Shibboleth (1955)—War-fatigued,
Poulenc and Carême sit down to La courte paille (1960), the April Moon’s fish laughing at sleet—Petraca left (1353) Fontaine-de-Vaucluse;

Modern brigands sell santons up its approach, Vallis Clausa—Georges Braques’s late aquariums, unlike Stockhausen’s
Return to Sirius, or his stated hubris of twin buildings; in each case, microglia burn thoughts, almost an aroma of steaming hair—

Express instead their autotelic flow, a wind-smoothed sowing field forsaken of the Angelus or a war dance—