0. Partir ventre à terre

0. Partir ventre à terre

A woman, too, uses the cockcrow to mark time—The wind rose, or coxcomb;
Florence Nightingale subdivided each year by morality cause, for cholera’s plundered guts
That might impart its function to the seeded banana species in a ground roiling
With mold—Quadrants of the churning sonogram of a flood, for breakers of how much concrete
Can be poured of our words—Cut down, the hanged one spatters oakleaf brown, filemot
Labelled folios with immune droplets sewing tropical single diagonal lines stirring opposite

The crow—Rounding for January (2007), the seven years since I last suspected the parental opposite

Was true, yet then subject to exclusion—Oldest of seven children, one suffers the uprooting of Jacob Freud (1897) into a mirror's surmised dream work of combing

Down one’s hair—Seven generations of Macondo signifying the "7" a cordon plunged into the interior with jasmine flowering the walls, the submerged filemot

Of notebooks formed from infallible rules as Sanskrit—Essential particulars of each other into recesses as the guts

Consumption; expanded the twin halves of the butterfly; the heart’s bestraddle thymus, which sears on Charrière’s roiling

Judgment in the tiger’s cage—An immune rôle’s involution with age; to unlock others, let them hold in concrete

Recitals of Sur mon cou (1939, 1942) the seven quatrains Le Condamné à Mort - Edition Limitée concretized
By Étienne Daho and Jeanne Moreau (2010)—Seven-segment aspects of the pocket calculator, broadcast from the Moon, "The Eagle has landed..." (20 July 1969) opposite
Televised arrays, Rabbit Redux’s DAYS, pale slices between nights (1971)—A cathedral of magma roiling
Seven diatonic scales into cooled twin spires of Claremont-Ferrand; the Pilorge heirs in the vulcanized tire plant, or through starred window seats—Mother of pearl comb
Against a black mantilla; the anterior arriving, the fifth-month child of Isabel’s Monologue (1955), where undead filemots
Descend the cistern of the courtyard—Olmecs, the rubber people, proofed latex into rubber with Ipomoea alba, the moonflower, where a sinus thrust its sails into the guts

Of madrugada, the hours before sunrise, maturation—Shackled at Saint-Brieux, the bilious gut’s
Aspersion of loosened whitewash—The jackboot recoiling to indent a skull, traced up to its proper thigh, plants into blended concrete,
Into core of another pulled from the muster—Seven months after Apollo 8, seven quartzite slabs, the oldest drawings, were taken from the Apollo 11 Cave (July 24, 1969); from foxed filemots,
Flesh into which it is now caught, dictates the lesson—Then the largest, lithographed and screen-printed in six colors, Rauschenberg’s Sky Garden (1969); the ascendant opposites,
Compound palmettos; individually, straight razors, of then Cape Kennedy—Finding the Stone Moon roiling
Two-thirds of our lean muscle beneath the ebb tides of basaltic oceans resounding rose to tin blue by a cock’s

Crow, or the backfire from a plume deflector—When the stone broke into two pieces, the cock
Hits the percussion cap, in the rivaled chair of all flesh, where a trigger orbited drawing tremors out of radiopaque guts—
The trapeze of the back receives a dawn gilt, Booster from the series Booster and 7 Studies (1967) roiling
For the splendor of the sun, before talk of brunch—It is 1909 again, under the cover of  scented water, without a chance to exchange a word with the barber’s daughter, the concrete
Never drying at the lattice where she watches, before rain-flooded planters—Filemot
Of a colonial ruin converted prison, hospital; Charrière’s no sooner in the shade of Colombia opposite

A syphilitic bridegroom inspecting his girl’s breasts; he is twice-deported to Cayenne (1935) opposite
The stars and mangrove branches—One Hundred Years of Solitude (1967) burned in this swamp for 17 years; the cock’s

Blood consecrates the foundation stone, four walls to survey the gaunt cart horse settled in mud foretelling Aureliano’s transcription of the vital filemot
Of seventeen assassinated on Ash Wednesday, the palm cauterized their brows—The guts
In question denied a second opportunity, from Sanskrit amalgamation, mercuric alloy, growing pellucid to become impenetrable, the roiling
Six lines after six lines, where Freud’s haploid cells, under the turnkey of time, produces the  psychology of union unreduced to a factor of composition, nor aggression and apathy—Concretions,

Of the hotel room of La Louisiane (1954), the couple opposite, where the wet canvas is overdue to pay the tab, under the ceiling’s painted concrete rosettes

There one firmly stood, never to be seated—Genet died with cancer filling his gorge in such a roiling scene, the ecstatic cock of a blond up to his heart (1986)—

After gutted Macondo, before the deracinated Bantu—From this filemot issues the twins, and Remedios, who will be reading this, first among gold fish speaking with our chain in its mouth—