XX. Dire des naissances

XX. Dire des naissances

Taken at certain age, the fir tree, for furnaces or shavings—Crossing a one plank bridge
Not as deftly, led by a perhaps gilded vision of antlers’ projections, where a pursuer’s
Place card falls—Release of a 28-gauge at the upland or clay objects of a buried rage, binoculars,
Which have caught on a warped limb, give the stag a view of the moraine (1956)—Bemelmans,
Surrounded by the dreck of Manhattan island, naturally thought of another hotel
As home, and it was here that he captured the shorthand of the ranks of condiments, the parquet dining

Room, the steam that lifts the diner’s nose—Narrating images of Walker’s Bourbon or Tabasco (1957), the dining
Room of the Carlyle catered menus and matchbook covers for 15 years, onto sketching between lulls of the Hapsburg House at 313 East 55th (1934)—The Queensboro bridge
Is five blocks, and five luminescent spans seen from a bench with Madeleine, on the lam as a model, from a convent; the remark that abbeys and monasteries were the first hotels—
Her name is thereafter misspelled, Madeline (1939)—Impassive before the Stieff Tiger’s cage, perennial schoolgirl in her boater, and her pursuer
Count Bric-a-Brac—Seated at East 18 Irving Place, where O. Henry wrote “The Gift” (1905); and having no imagination, trained his binoculars
On recapturing Gazelle, the lost governess, whose memory is a Dianathus boutonniere; what of the misfortune had Mimi taken vows; instead, Miss Clavel—Bemelmans

Took them to the see the Trylon and Perisphere, from Le Monde de Demain (1939)—Bemelmans
Thought of inner constellations of his worship, in this departure from Boullée’s Cénotaphe to Newton (1784)—Now, return to the dining
Room after starving in his 5th floor Greenwich walk-up was history (1929), he became the Austrian behind his Swarovski binoculars—
Now that money from The New Yorker was coming in; sighted their very own duplex covered in vines, near Pont d’Arcole, a bridge

Christened for Verona (1796), but not to drill for lines into the bedrock of Notre Dame—To think of the flying buttresses Pepito might have rakishly scaled with his slingshot; the hotel
Was sold in two years—The veteran maitre d'hôtel recast Madeline (1954) as the unknown of the Seine, cited in Rilke’s only novel (1910), except that her pursuer,

Rescuer, is Genevieve, the dog—As her would-be husband received the Outstanding Young Man of the Year Award, 1947—The same year, Ludwig, pursuer
Of that elusive crack in the hospital ceiling; not unlike a dozing cottontail among shade trees, if no longer inverted hearts—Bemelmans
Painted the mural as he resided in the Carlyle, which influenced her decision to live there after 1964—In the sense that le comte de Lautréamont, writing as if he were a hotelier,
And not an orphan, plagiarized, to replace it with the right sense—Dining
At Luchow's, and observing the same aspect of their honeymoon in Bruges, Madeline’s first appearance, The Golden Basket (1936)—His mind’s binoculars
Go back to Magritte’s L’Attentat (1932), after Bréton’s Maison-Attentat (1929)—An abridged  

Account of fortune—Madeline and the Spanish Ambassador’s son sewn into a lion suit under the bridge
Miss Clavel and the girls above on the Paris-Honfleur line (1959), or Le Train Bleu (1963)—Pursuers
Probably file into Place de l'Opéra, absent of their two straight lines, and dusk’s celadon glaze; or, Bouillon Racine near the Luxembourg Gardens, for Art Nouveau binoculars
Plainclothes informants know the way—The Ritz busboy in his twenties, fond of chomping Certs mints in the dark, studied the flames of a mother of pearl spoon, the Osetra beads bursting in his mouth; yet, in order to become Bemelmans
Of the five books, he had to meet Mimi first—Imagine a stranger's surprise, the Madeline scenes of a cathedral town (1953) aboard Ari’s charter—Some semblance of Twentieth Century Blues (1908) recreated in the Gramercy Park Hotel
Rooftop garden at night, or Cornell’s Hôtel de l'Étoile series of the 1950s; of one solitary horizon to another, of so many vacated dining

Rooms—Ludwig discerned this commission of enchantment, of Bréton’s chuchotement, of  Constellations (1958-1959) of Miró’s works on paper (1939-1941)—The dining
Hall’s 10 pm women; each teeming as the Milky Way, and above, the height of sigh, that is the bridge
Of daylight; there remains a nest intensified in crystal chandeliers—It brings forward the hotel’s
Thrum on the weekend, as Pepito’s charges overwhelm his aviary of the mind—We can pursue
Their spectral allées, if only the deer are allowed to browse, and by holding binoculars
Up from the kitchen window, which will be superfluous to their younger eyes—In our representation to them, Ludwig Bemelman’s

Gouaches have a diner’s taste of encounter, as Picasso’s June 25, 1943, Square du Vert-Galant, he thought imperative to renovate the subsequent year—And like Bemelman’s
Madeline, her invitation to the White House Rose Garden; pursuant to the end, Tell them it was wonderful (1962)—Hôtel l'Univers,
The bridge of their voices is calling to us—MMXX, and the planned launch of Euclid, with the leap year starting on Wednesday—Let me put down my binoculars, and place on each of your eyes, a kiss, an approximate star, and pictograph of a hand, as though it were our first score—