XVII. Un ange passe

XVII. Un ange passe

Entering a scene with Chocodiles and Twinkies ground into the seats—

Sectioning you into myself, the leaved book’s tearaway calendar near an exorbitant

Machine-frothed milk in the shape of a star—Dziga Vertov took four years

To condense these rarities; an average shot length of 2.3 seconds, The Man with a Movie Camera (1929)—

Minutes after Bloomsday, June 16th, then a plenitude, or arteritis even, of ensuing diplopia

Where Stuttgarters forsake their average 17°C spring high for a holiday, with a tricycle

In tow—Peter Stamm’s, more so, Michael Hofmann’s We’re Flying (2008, 2011)—The tricycle

Bent, and the child backed over; our jalousie angles by then acute, then beyond—No less than to seat

A country more forcefully, an undiscovered one bitten through less than a few days before—Diplopia’s

Disorder of the III, IV, and VI cranial nerves, or the choice of stereoscopes among the exorbitant

Ones, who witness their truths in due course, while remaining casual about graduating years—

The first four primes concentrate into a room at Holles Street Maternity Ward (1920)—Elizaveta Svilova splices the camera

Stills (1929) after a fresh-faced girl wastes into a grandmother burnt by the sun—Preoperative trypan blue instilled for the camera

Spaces of her cataracts, the dye migrating through one great scar justifying the pitch, and unsighted squeal of a tricycle—

Its wheelbase sufficiently wide to avert a fall—Of being secured in another, confident that it would not return, for a passing after seated

Ceremonies—What for Anja’s tenth anniversary, the divorce; his prey posts from her pine covert, and is shot—This episode’s staggering yearling

Ours and Bloom’s 10 P.M., not yet the 11th hour of being home, which starts at the womb, the diplopia

Where annotations solder June 17, 1244, and the 24 cartloads of Parisian manuscripts sentenced to fire—Materia medica of Mina Purfoy, and oxen of the exorbitant 

Sun—Nine months gone, on her ninth child, whose surname is an untrammeled road, where Molly and Leopold have not lain since Rudy’s loss—On the threshold of chromotherapy, the exorbitant

Converses—Conceptions in reverse, with our chessboard cleared, squaring off again—Ehrlich delayed qualification (1872-1878) introducing dyestuff into that nervous spinning shutter, after Euclid’s Optics (300 B.C.E), the camera

Obscura’s pall of enchantment projecting our inner carousels drawing even the Communists, for the bystander’s diplopia,

In our pull-overs—Exported albums, Moi…Lolità (2001); two facing each other, une collégienne aux bas bleus de méthylène—Nebulae in jeans dilating in a tricycle

Pedicab; our hands irreproachably gentle concerning rivets delineating pelvic cavity and lesser pelvis seated

Crosswise, a cloud in trousers (1915), in this impossible to heat room—Vertov integrates Mayakovsky’s asylum tatters, the minders unclasp between shifts—Years

Of tracks played for your audience—The historical reducing to Ehrlich’s trypan red and flagellates on a blood smear—This year’s
Decisive stage, the incoming colorant, christened chemotherapeutic index, and an exorbitant
Catalytics of learning, sleeping sickness, and then a foundational reading, De la grammatologie (1967)—Remaining seated,
The oath’s circled characters; a cartouche, or rifle cartridge self-destructing before displacement, as the torn ring of flesh the pill camera
Investigates; it is flushed as a tongue lake, or die Zungenbecken, of Lake Constance, the glacier’s undertaking—Diplopia
Or stylometric analysis of what’s written in the corpora, a replete matrix—William Eggleston’s Tricycle

(Memphis), printed in 1980—Scaling the exurb single-story residence, à porte-cochère, to be colonized by other tricycles
Central to this very existence, with humoral projectiles spun down, readministered—Metchnikoff and Ehrlich that year
On phagocytosis (1908)—Engulfment of foreign bodies describing dichorionic mitochondria to repeat our energy needs; refined further, the immunogenic, colored serum, with diplopia,
Deposited in another model, another means of production; hours of 17 years, the progeny unseating
Blood relations, Thomas Mann’s The Holy Sinner (1951)—With a nerve net and topological appendages seizing under hand—The mind’s camera

Lay there, as if it had been newly brought forth: an animal from out of that wound; the camera phone watches—The tricycle
Unbought, just before it is discarded, for the rider to stand climbing hills—Once we get over the ecstatic diplopia, pouring years
Of ourselves, as children of God—The vehicle pulling out; unseated as after a fit, and a private despair’s dye transfer of tears and engine oil in Whitehaven, MS (1972); upsetting houseplants, at times, the deserted, we are waiting to return to our bed—