XV. Nous nous sommes fait manger la gueule des continentaux

XV. Nous nous sommes fait manger la gueule des continentaux

Rather the frequency of eyelids than management of what was seen, of the annotated
Zambezi delta grasped from space’s valet of winds—Eddying the Natal Pulse, and Agulhas Rings
That makes the channel’s profiles discontinuous, by their offset dusts—The Saône’s absorbed Suns, and their dilation
Upstream by a vessel combusted with club moss, as M.M.Niépces pyréolophore (1807)
Then by phenolic coal resin, and lavender with white oil of petroleum (1816); when injected, arouses a scar, or punt—
Disjoined from a work of blown glass; the heated point, where the sand grinds, into the same smote fabric of heliographs—

Joseph Nicéphore Niépce’s varnished rocks left for a span of days to their impress of bedded seedlings (1839), and these tips of flame converge in the plate of this first heliograph (1822)—
Then, Point de vue du Gras (1826), a fusillade into the camera obscura's daubs of bitumen keeping hulls watertight, the Egyptian’s Ka flash-annotated
Beyond its cataracts—Out of a forest's cedar and fur-lined placard wrought by receding frosts in its tracks; Lycopodium spores’s trail of static was punted
Instead for the Christiaan Huygen's fuel-driven piston on free weights first described in a ring
Of correspondence to his brother (1673), although it is uncertain whether Joseph Nicéphore or Claude Niépce read this—As no one can quite mark the shopkeeper's fist's dilation
To war; there, exposure time elides the trams, streaming arcades by Niépce's assistant, Daguerre—A latent image of Boulevard du Temple (1838); in ten minutes, achieved the pyréolophore’s


Equivalent complexity on silver-plated copper; quite possibly scrapped from the copper fundus of the pyréolophore—
Daguerre's New Year’s photograph of the Moon (1839), as the process dispensed to the August world from the heliograph’s
Work of origin, from sunspots that alight and knockback the tails of comets—Prone to tarnish by the laying of the hands; nevertheless, dioramas are feats of highest branches of the head, dilation
Of binocular perception to its greatest advantage—Stills fanned for later audiences dressed little better than the dead in their rigs of spoor and shirt crumbs—From packed cinèmas, but what of the annotated
Marine or Martian breaking within a few yards—XIIème Tale of the Shipwrecked Sailor in Punt,
Land of Incense, abiding upstream, by a custom submitted so tortuously to the dead without regard for supporting rods of the neck, the gold-capped nails that cover annular rings—

Articulating beauty better than they had in life, with the frame of self-reference calmed, which, somehow, rings
False, this realism of the Union dead (July 1863); furthermore shorn of the sanity to bring this evidence gathering to an end—Sleeping pyréolophore
Whose temerity you first awakened, as Le désir de peindre by feuilleton (1863)—Pieces of Punt,
The onyx tears of bdellium dissolved in the Sun—From the source of manna, fed by the flooding Ethiopian highlands, the heliograph
Of the Pharaonic eye deepens to accommodate—Self-Portrait with Fur-Trimmed Robe (1500); at the risk of pupil dilation,
Brought into being, in a book, as the papier-mâché sarcophagi eaten by the dog, mended and painted again annotating

Early life’s stereo card—Firing a regulated double-barrel at a clay pigeon; yet, not for the whorled hair or beard annotating
The fractal of the Self-Portrait from 1497; or Dürer’s view of himself, shaved, with a thistle (1494)—Leaving his father’s hands to work others's gold rings,
Thorns and thistles it shall bring forth for you, he whispers behind—Not for arrogance, this searching glance of the time dilation
Among two observers, where aromatase floods from the reticulum, beyond the sternal angle that flinches—Bent double at the pyréolophore’s
Arrangement; giving rise to the Spenser’s electrolytic apparatus (1841), the joints are once again welded amplifying the outbursts—Alleviated, by allowing the punt
Pole to float up like a rudder, the depthless bottom averted by the gridlines from The Painter's Manual (1525), minus the heliotropic rash, composed before the potted herb, anticipating the heliographic

Engravings of Mihály Zichy, working in Paris in 1874—Some tame erotica just before the fin de siècle decompositions; one is smacked in the church of a street corner for it—Parody, for the heliographic
Mirror flashes a message, the demeanor distant or martial; itself inscrutable, touches to be understood annotating
Plates of The Knight in the Panther’s Skin (1882-1907), of a Georgian king, Tamar, after the date palm—Mother of breached Perez, and Zerah, the stripe of sunrise ringing
Texts for coherence—Pharsalia (61-65 C.E.) of the Interior, with the tenth book ending in Egypt—IV. Antaeus's girth, the Earth labored against brutal Caesarians, dilation
Prior to effacement—This Saturnine wearing down of Mar’s assertion repairs the game of mirrors, with consulted references put away, or else surrendered to the pyréolophore
Traversing all of the routes of the atlas, and then its incubated atmospheres purged by the face of an innocent punting

Through the heliographic eye of the needle—Let us instead render susceptible kindnessess until they complex into 16, and dismount the camels, searching far from the encampment—Hatshepsut (1503-1480 B.C.E) set off for Punt
For unguents, information; the delineated fish of her expedition are unrivaled—After the dilated ring of a name sovereign in the hieroglyphs
Bind the metamorphoses, and their singed pages of annotations tempted by the cerebral to become unmoored—
Prolong the slow burn of the heart of the pyréolophore, whose wake of unwound film fermenting the perfumed branches catches skins of our unrivaled selves in seines—