VII. L’Attaque [du moulin]

VII. L’Attaque [du moulin]

Wandering for seven years, the facsimile blue raincoat drying in the Bathroom of Circe (1954-8),
The Sun daughter’s golden drip water on fallen plaster—Oscillations of value, an extorted sugar
Loaf and body of a coat in the courtyard of the mill of Sauval—The IKB ground
Of Bergson’s Les Deux Sources (1932), the exchange value of Dominique for the father—
Stertorous breathing of unremembered lyrics of the 8th Army and the 6th Armored Division’s
Lili Marleen, by a conscripted schoolteacher (1915)—After the drop in peak levels of phenytoin;

When intramuscularly administered, the metrology of the muscle depot’s phenytoin
Traded after 29-years on the iron shelves of Parke-Davis as Dilantin (1938)—As the pharmakeia Circe’s

Withholding; her mammoth longings aside from offering polished chairs—Warhol overlaid these non-divisions
Of Newsweek, Two Tuna Sandwiches (1963), as if they had synchronously fallen from benches; his Factory nickname, Sugar
Plum Fairy; now the news is speculated calories in toasted white—But for the grace of the ground
Wire encircling the live eyelash curler in Beuys’s Bathtub for a Heroine (1950), cast 1984—Marcel Duchamp’s Portrait of the Artist's Father (1910)

Flexible arc of a bachelor pulverizing it for his flare, Moulin à café (1911), beginning with the father’s

End-to-end tables, awaiting guests, underwritten by the blind mice’s acoustic startle and eye-opening after phenytoin
Exposure—Klein’s zone of immaterial pictorial sensibility belongs in an absolute and intrinsic manner to the buyer (1962), sowing the ground

In the employ of other phenytoin analogues, within the six wings of the curving I.G. Farben building—Nymphs in the viewing pool of Circe’s

Aiaia taken by Eisenhower for Allied Headquarters (1945)—Symptomatic brand and generic divisions

Of Nude Descending a Staircase (1912)—Homo faber’s Max Frisch, the novel’s pieceworker (1957), whose first major commission is a sugar

Concrete swimming pool, as the white huts of Corinth—as though somebody had emptied a bowl of lump sugar—
Beuys’s flannel wrapping and rancid fat, as if on order from Exquisit and Delikat-Laden; there, the softened authority of the father—
After the laying out of Warhol’s coal miner father, his silkscreen specters; there is death, a surface incident—Class divisions
Of Screen Tests, of a society girl—Performance and hyperexcitability from the withdrawal of phenytoin,

Walter Faber's long shadow shows on the film—Her body that no longer exists; figure ground
Perception—Reification of patent blue, resin binder, gold foil into the Ex-voto dedicated to Saint Rita of Cascia (1961) brought on by a convulsive, venous backflow, Circe

Recognizes in a blue face—Behind cross polarized sunglasses; forced to part with her heart’s blood, and never weigh the drops—Circe
Pulls anticonvulsant blue cohosh, but not for an expectant girl—Vanishing Autochrome of the essential oils, saturated sugar
Cubes over a slotted spoon—Rosicrucianism depositing its moisture around the carton displays; the ground
Blue aura, a breeze, Warhol procured as if it were belonging—The tormenting heft of a purse; exchange value of either Marcel Duchamp ou Rrose Sélavy, the father’s
Valises of copper, jointed figures for sly peddlers—The mill’s central timberwork riddled, running as regularly divisions
Of the Dreyfus Health Foundation, the Turquoise Marilyns from 1964, submitting the off-label prescription of phenytoin

For depression—Returning after the Dreyfus Affair (1899) Zola expires, red-faced from carbon monoxide, by a shut chimney damper (1902)—Phenytoin’s

Production of red urine, the antiepileptic mechanism daunted by folate—Such terms we are at a loss to describe without market forces, Circe

Inscribes in a roundel fountain—On the steamliner, Sabeth, as an oath of seven, stockpiled like Beuys’s fat, for the Other to consecrate the divisions—

Outside of her mother’s art institute, at Colonus, and it is expenditure of two amino acids of saccharine, the artificial sugar

By the elite Next Floor’s burden of sous-vide species, which tumble through the floorboards—On this ground,

Sophocles introduced a third actor; forcing one to spend, or save nothing, after a visit by the one resembling the father

Whose Burberry trench is reinforced with leather; decoupling attendance from an epileptic arrest of desire; the father, having grown long in the gums, praises phenytoin—

By this blue vastness of the ocean destabilized by a patent number; the sickening intake of sugar is drawn up into straw-like divisions

By the first of the 7000 oaks of Kassel (1987), and on this ground, we are altered, as by Circe, by the last tree converted from a basalt stump, which could be a headstone; he died a year prior—Seven meters away from the first, for d8 by the wife of Joseph Beuys—