IV. Quatre semaines [deux fois]

IV. Quatre semaines [deux fois]

Penetrating, directly above sunlight approaching 130,000 lux—The MAXXI piazza’s
Cement canvas, marine plywood chaises floating vertebral columns (2012), with the spray
Sent off the piping; in a blue light box’s calligraphy, UNIRE/UNITE—
Apparitions of Boetti’s migrations onto Piazza Navona’s four continental rivers stretched
Under an incidental stone, had by taking the second line beginning
At Flaminio, with its stadium—Out of a circonscrizione formed from four rivers, Io che prendo il sole a Torino il 19 gennaio (1969)—The UV-B

Received in tranquil fistfuls, with cholesterol shipped out to the boundary as unguent—UV-B
Emissions stagger 7-dehydrocholesterol's Δ5, Δ7 conjugated double bonds as a piazza
Stripped of its plantings—Converted at 290-305 nm, D3 transits the liver, the kidneys; reads the beginner,
Realizing, within the sprawl of a drawing, a single bond has been irradiated—Neptune’s fountain sprays
Boetti overlooking lapis lazuli lakes smoothed with travertine—Band-e-Amir as the coastal Hammamet uniting
Klee’s student days (1914)—Sand disperses the letters' pavement, as a precondition to enter this Ghost Chamber with the Tall Door (1925) stretching

Cables of our vision, towards the active form—1,25-dihydroxycholecalciferol stretching
Linings of the proximal tubules; oxidizing two waters into position—Filtered UV-B
From its replete margins, the earliest hieroglyphs of Court de Gébelin and biro wing beats uniting,
Plaiting for a fundamental frequency, and from where we interdigitate the midnight piazze
Possessive, parenthetical finger holds; anonymously scanned, I sei sensi (1974-1976)—Preceding the beginning’s
Mirror name we inscribe on our backs, in corrugation, then cast-iron, with a double harp’s tunings—The 21-stringed sequence deft as wave spray

Mingled with such emollients, of entering, a khora of Casamance—Alighiero e Boetti’s One Hotel, Kabul, Afghanistan (1971-77); the gasoline-sprayed
Paths of Soviet troops notwithstanding; already the opposite-containing Legnetti colorati (1968) of fascist kindling stretching
Polarities—We recess it in our common body as a smoke-grey lotus flower with 12-compounded corolla; vitality beginning
With the four-fold D3 parsed from vegetation, circulated, stored, actuated at the 5,6-cis configuration—UV-B
Ghazal 44 of Hafiz, The Green Sky of Heaven—I mille fiumi più lunghi del mondo (1976-78), with nothing on the tablet of my heart but uniting
My love's tall alif, in green embroidery on canvas—Acquitted of a Piedmontese piazza (1763),

Fra Giovanni Boetti writes of his conversion at Mosul-Nineveh—Alighiero e Boetti arrives in this piazza
Of trade routes, Kabul of the Rig Veda, and the wars of Alexander, where a quadrilateral in southernmost Pisces sprays
Its invisible partner in the northern autumn, where it rises like a winged diamond; uniting
Map makers (1979) distracted in their intricacy, in their foresight, green borders for the seas in unstruck pink; the degree of stretching
The Sanskrit alphabet, and throughout Afghanistan—Four months of winter and mountain shadow rheumatism, the beginning
Antimicrobial cathelicidin, the gene target after D3 binds its receptor, reaches one still swollen from delivery without energizing UV-B

Saturation; her anthology was burnt to gum resin, and deadened his look for her, driving out the children—UV-B
Concentration of a look June 1985, her un-narrowed devotion to four daughters; her happiest day, her marriage in the piazza—
Kora of the national anthem of the fourth commune of Dakar, un peuple sans couture (1960)—Boetti and his wife adjourned to Kabul four weeks twice a year beginning
In 1971, where he perceived the grid logic of invasion, the imprint-bearing Four (1980) in Russian, and Clemente’s Four Corners (1984)—From a pigment lifted from Klee’s Dream City (1921) in industrial spray
Paint, Verde Ascot (1968) for the car manufacturing city—Uniting
A postal record, with the Roman St. Peter, Il Janitore, the door-keeper; stacked among alternately red stalls for meat and blue for fish, the spined John Dory of Via Giulio Cesare stretching

To the quarter of Via Tunisi—Boetti’s elevation of hand-colored panels bearing the same name, Omonimo (1974), and stretching UV-B blue wavelengths of beginnings sprayed into our absorbed bodies—As fish magi, with golden scales common among sardines, united again under such a piazza—