V. Entoilage marouflé

 

V. Entoilage marouflé

Staggering thoughts, before take-off were of leaving sufficient mailing labels—Oil of marjoram
For the vaporizer in the checked baggage; given the faulty impression of bled air from the compressors
As filthy, while Little Bear’s arrhythmia that sometime woke him; an index of cardiac vagal activity,
Developed from not hibernating—A paw reexamined the lined plastic, rather than ground glass of five Lalique
Designs used by Molinard; asleep, but retaking proportions of the counterfeit brought into the shop
That morning—Edith, who had detoured to look into the platform and mezzanine transit hall of Calatrava’s

Budget-burgeoned WTC PATH terminal; in its clipped version, no longer a bird, but an experience of shadow—Calatrava’s
Expo 98, Lisbon, servicing three-times the traffic, debuted a salt corrosion resistant canopy of Dow Corning 797—Alternatives to the nearby double plunge pools; they submitted marjoram,
Twisted, before the torch ever existed, in the early days, from the weddings and graves of Classical couples, where thoughts usually inclined before the fireplace, in this last among shops
Of preemptive ticking for online refurbishment—Torque is le couple, as Little Bear regarded it, while among the warm compressors
Of office buildings; the forgotten penthouses up top requiring estimates for consignment—Fountains limed by the grit of municipal water, and runoff from the activity
Of the white marble conduit New York to New Jersey, with a full-time staff to accelerate the abrasion with chemicals—Picturing pinning in the just-finished wings of plique-à-jour dragonfly Lalique

Fashioned for Calouste Gulbenkian (1903)—Little Bear bowed to the Encre Noire limited edition fragrance and flaçon (2006)—Maison Lalique’s
Two input, output and transfer characteristics, of black boxes, made a more fitting tribute than Calatrava's
Skeletal remains, or Libeskind's torment further from a rill running over with their loved ones names—Although felted; Helenchen, shortened to Lenci, when he could not feel her radioactivity
From his jointed arms, put his gutta-percha nose on her neck—Alloyed, or turning bodies, not entwined into a hangman’s rope; undermined by stirrings toward accuracy—Marjoram
Will just be coming into flower, in July, he offered—Absent of the comparative bitterness with clarity life should have taken viewing the Musée du Luxembourg exhibit—The apprentice of Louis Aucoc’s shop
Seeing faces in apple jade or moonstone, as acid drops of newly blown spray in an oily drain, which were seldom apterous—Multiple compressors

Exorcising Sarah Bernhardt and Madame Chrysanthème (1887)—Off the Gare do Oriente concourse, minus the modern train’s brake compressors,
Plate-glass handrails likened to the backscatter of diffused algae—Bica and egg tarts, before going outside to see Lalique’s
Nanking chandelier outspread on the roof, from the earlier Mosteiro dos Jerónimos—Some pretenses, unawareness, of shared margin notes; were they interjected by the shop
Assistants or bookkeeper (?)—Gulbenkian wrested from the Hermitage the Flemish master’s Hélène Fourment (1638); prizing the passion the artist found in his wife, with a field applied to her ostrich plume; this page was dog-eared—Calatrava’s
Incidence of the Sun that day, in steel reinforcement and layers of grout, buckled in the engineer’s plans—While it followed that Little Bear’s activity
Of the White House Christmas card (1963) became unhurried beyond confirmations of a wide-angled periscope; Edith’s breathing condensed the window, now, with tears—The balcony’s golden marjoram,

A fallen bough of the Aeneid’s mistletoe, just shorn from lines of the floating world of Sûgakudô, the canary with veined magnolias (1859)—Marjoram,
Depending on the climate in which it is grown, whorls in this content—Edith and Little Bear, wrapped in the interminable Christmas muffler, or dusted in flour, with the king-sized utensils—Were they compression
Fossils of early worms in the concrete foundation of the prairie house of Museu Gulbenkian; soundless, this afternoon, but for the activity
Of waterfowl beyond its seated collector with Horus, the child—Turner’s mascaret, the tidal bore that surrounds the lookout at the mouth of the Seine (1833); René Lalique’s
Peacock pectoral (1900) places in this trough, a moment in time, among a spray of diamonds— Discontinuing to work in precious gems; commissions in Samuel Bing’s shop
Catered to non-heiresses, his vitrine for L’Exposition Universelle of 1900 is noted for the five femmes ailées with a loose weave, to pin the broaches—Calatrava’s

El Alamillo Bridge, for the Seville Expo (1992); less precious, for not being taken in miniature, counterpoised by Calatrava’s
Single pylon, as a brutalist's teardrop lyre—Not lacking in vision; the later works, cost-run into the billions, lack the transformation of coarse materials, the marjoram
Of bouquet garni—Taking in the Deianira and Nessus inkstand (1903) fired by Lalique’s father-in-law, in the foundry used by Rodin, Little Bear is pulled from shop
Talk to the Meeting Point, by Edith—Rembrandt’s Portrait of an Old Man (1645) and Paula Rego’s Time Past and Present (1990), which is the only exhibit with wide-eyed children, whose sitter attends once again to a chastising nun and aerial côco above the bassinet—Compressions
Of The Lonely Doll editions—Vasco da Gama’s coconuts; their nacreous eggs only known from bristled shadows flung from these eaux d’artifices—The official activity
Edith considered leaving, Little Bear held as the soul of temperance, and then, he grasps this picture of her with a straw hat beckoning to the most westerly Sintra beach; sand was Lalique’s

Chosen medium for this longing for saltwater—Lalique’s moderns and antiquities; to a lesser extent, Calatrava’s stations,
For all that we cannot brand, of a child releasing a bird—Edith, the heart of activity, is picking marjoram from a kitchen garden, on this Wednesday’s bespoke element of water—To suit her, Little Bear focuses the mirror of his efforts
Just picking up, after compressions into assessments, canvassing for Parian or lacquerware, at last, leaving the shop of another decade—