XII. La nuit porte conseil

XII. La nuit porte conseil

L’Atelier Lacourière series of Matisse redoubled in drypoint and photographed
Variations, in shapes of completion—Le Silence habité des maisons (1947); faltering
Here, to consider the capitalization, where block printing avoided such considerations—
Before the window’s indigo reflected on your faces; over the page, un mot de passe,
Saint-Denys Garneau’s Le silence des maisons vides (1937)—Particles that do the scattering
Separated by beachgoers, as in Arthur Schnitzler’s Dream Story (1926)—In the sphere of Mercury,

In a kitchen redolent of pissaladière, before a crinkled tube of anchovypaste—Mercury’s
Fish of Paradiso (1317-1321) are drawn, as though they guess at food (VI.101)—Gleaned from photographs
In front of the library, expressions communicating richness startling as pin bones—A hair space of a thought, scattered
Then smoothed at the hairdresser’s—Something loosed a distance, self-friable, as golden carp falter
Surface tension on an impossibly tilted stand (1912), aquaria adopt the wedge-writing on a Babylonian cylinder (555-540 B.C.E)—Matisse’s diachronic considerations
Sights perpendicular to the water, and banded in arsenic sulfides, ruby or orpiment, after auripigmentum—Et j'en passe

That only complete rest from structural problems and vagaries of intent, until tide reveals our passerelle
Again; invaded by a dark mask on the pillow’s semi-diameter of Earth, where frailties recess in shadow, as far as the Moon, Mercury
And Venus—The sea needle’s green bones outshone on Royal Copenhagen, which is beyond the hyperrealist’s consideration,
Acrylics and urethanes indisposed to take whatever happened, just like what is seen in a photograph—
Fading affect, or loss of acuity, for the unconscious play of an “M” in Dance (II) (1910), the arm’s torsions scattered
Among others, and made contingent—William Blake’s Oberon, Titania and Puck with Fairies Dancing (1786); your body weighing so much against actual crimes in the mediatic, faltering

Press—Marc Chagall’s Interior with Flowers (1918) lapping into thought until faltering

Into wistfulness, for the only alternatively strobed backstreets—A sidescrolling game of action to pass
Blue-lit nights shocking the retina into the assiduity of waking—Albertine, animated now only by the unconscious life of plants (1923), among scattered

Orchestrations of feelings, awakes flaming, cross—Freud’s two classes of instincts (1923) that would otherwise roadblock the Ferranti Mercury’s

Drum memory Autocode (1957), with explicit reference to beach reading, Elena Ferrante’s The Lost Daughter (2006, 2008), for the doll multiple’s consideration,
Declare our longings before an audience; Dante ascends the fixed star Gemini, for photography’s

Denoted image, yet the still camera’s motion is reached, as if remembering one’s own dream—The marred photograph
Handed back to you, by the one who knows you best—At the window of Matisse’s studio in Collioure (1914) faltering
The hotel bedroom, the dawn landscape rain ruined—Among azure spaces vying for consideration,
Interior with a Bowl with Red Fish (1914), the absorbed radiation of a basin over which one twelfth of the tropical year has passed—

Thawing central discourses, the embrittled container of spilled elemental mercury bounded with silver nitrate, the precursor for developer, for lilies to scatter (Aeneid VI.882)
Her cape was green; her dress beneath, flame-red (Purgatorio 30.31-33), and turning the corner of the Heaven of Mercury
 
(Paradiso VI)—Minding the docents, we distinguish an earlier work from that same fishing village—The Green Line (1905), when Mercure de France

Went bimonthly that year, in the Statens Museum for Kunst; while among profiles of cocadrille now photographed,

The Matisse collection draws unlikely comparisons to the fifth heaven, the sphere of Mars (Paradiso XIV)—Scattered,

Unremitting aerial and subterranean roots of split-leaf philodendrons retuned in Jazz (1947)—Paper houses faltering

The pulverized stones and shredded tendons of their recovery, the cross of Mars pounces material existence until the consideration

Of words shape themselves in Jupiterian light (XVIII)—In what follows, after a scenic, four-hour ferry-drive from Copenhagen to Århus disrupted with tolls, calling to mind passing

Strangers one mezzanine up from us—Until Your Rainbow Panorama, and what passes between us, on this round of sunset; in spite of my overall antipathy for Narnia, C.S. Lewis’s account of Mercury—
Meeting selves, same but sundered (17-18), and faltering artifices meant for astonishment; however, light scattering is deflection—
What seems an early consideration of photography, where silver salts darken stencils of texts, we witness the reliance on being uncovered by the Sun, to draw them—