XIX. Un soleil encore chevronnait

XIX. Un soleil encore chevronnait

The first knuckle on your forefinger—the one that is July, source of a seed October intended
Germinating in our second year, with new growth of five leaflets bowing under elderberries—
Frosted braille of an early window against a darker shade of polished silver that is the purest graphite
Coating cast-iron braces of cathedral domes, into this foundry of December’s New Moon, with Renner’s Futura (1927)
Marker left by the July 20, 1969 spaceflight—Achieved, as with a blunt awl, the digital block
With procaine, prolonged by epinephrine, where the pulped finger’s tip is allowed to steep, firing C-fibers;

Not unlike a sodden, bent-back matchbook accepting the regular period of vibrations made by the provider’s seams—Fiber
Reinforced steel shotcrete applied to a tunnel, or a pool lining, where the Weissenhof Settlement (1927) intended
Rooftop gardens; threatened from transients, and reflective exteriors— Their successors embedding titanium dioxide catalysts that rinse the air—Selected as wooden hat blocks
Re-carved for the wearer, the hard wooden rose, Angela Pralini and the Author’s myositis urgently but delicately called “forget-me-not” rivaling the elder’s
Place in cemeteries—Far from its native territory of nested white umbels of wild carrot fertilized with a drop of one’s own blood, neither said nor logged by amorphous graphite—
The sapling bonded to the core of its petrifaction on medication stationary—Geometric capitals of the Futura

Typeface taking three years—Grounded on the circle, triangle, and square, such staid imbrications of fur and scales without machining, as the Futura
Cinema billings; received with chest pain, taken on the assertion to be for the unknown length, unaccompanied—Looking up, between those pilasters pressed between shops, longing for the white microfiber
Lounge to withstand life—Reclined, with this evening’s crumpled war correspondence and acrostic; the graphite
Moderated reactor of a page—Your look is, how such an inquiry if at all nurtures our mustard seed; having intended
To leave well enough attempted, rereads—The jaundiced infant’s darkening hieroglyph of a face, by the assumed father, with the only memory by the mother; reserved the arrival, in a fit in the Pyrex block
Of a maternity suite, with a wreath of gardenias presented, to be decent—Ethnobotanists speculate the eldertree’s

Derivation from Aeld, or fire, shadowed audience below the ballet footlights on the proscenium’s feminine lower-third entases; an atmosphere for Imogen, and her strongbox containing elder—
Losing an essential means of averring cocaine used in Kol Ier’s cataract theater (1884), and procaine Einhorn synthesized as the first derivative (1905)—Stanley Kubrick’s font is Futura
2001’s Jupiter 18 months later (1968), and the Infinite; taking off a suit, the one who approaches this august bedchamber is the returned Los/Sol (1794), the evolved metalworker, Dalbet, without which Chareau and Bijvoet’s Maison de Verre’s glass blocks (1932)
May never had flung their enchanting cast of flooded moons, from 31 rue de Saint-Guillaume—In a panel photo drawn up by optical fibers,
We concede the Dalsace museum is nowhere to live, as the tidal acceleration trails our satellite into the branches of Frank Asch’s pieced gossamer high hat left for and by a bear (1982), and throughout the subsequent texts—Perishing the thought of a Modernist crank turning the Sun and planet gear to slant the metal blinds of outer graphite
Hammered carbon paper suspending forgeries of overcast mornings that project the nerves—Toward daylights of blue enamel street signs, and what further reason than to hold tightly in the winter solstice, when taken with the lightest encumbrance again intended

For the longest nights in June, when the mode of living harmonizes with the forage, and the intended
Axis approaching the Tropic of Cancer—In the frosty night the glass shattered, on the month of elder

Nameless, December 23^rd, before the birch World Tree, the water continued standing there in a bottle shape—Ozenfant’s L’ombre de la main (1929), beyond wartime craters, the hand sustains the flesh torn to tatters, and sprinkles the graphite
To release sticking locks of Le Corbusier’s first Paris commission, Maison-atelier Ozenfant (1922), as the weights of Erbar-Grotesk (1922-1930) preceded Futura—

A Fresnel lighthouse beacon, the first order prism stretching for miles, on the page, the month of the Oak, July, to attain our perpendiculars to lightning—From the rootspace at Sheshem, where the stone blocks
Of foreign gods were lain—Summer, by the signpost of an acorn concealed within the fist of the comatose girl upon awakening from a single point, as the Jurupa stand expanding its charred boles in wood fiber

Before agriculture—As Verlaine’s Promenade sentimentale (1886) gave rise to walking wounded and Clair de Lune (1905), before the fiber

Gun comes for urban Christmas trees, the model Malevich bequeathes sputnik, in the star maps intended

Architectons of Suprematism: 34 Drawings, 15 December 1920—Assigning the square feeling, while prohibiting the elder

For kindling, the fellow traveler glinting in the aircraft duraluminum of La Maison de Verre, or the within Stuttgart’s extant houses fitted with blocked

Casements from passenger trains before the willow grove’s span of estuarine overgrowth in Silverlake; the open plans, projections condensed in graphite—

At first scintillating, the eight-pointed star of Ishtar in the parquet floor of Jacques Carlu’s Rainbow Room (1934), then instrumental, in the leading and following, from the film opening July 16, 1999, with the Futura

Playbill—Concluding, by winter, as the Odyssey, in a bedroom; leaving on the Tree of Life’s desire to receive, now recomposed with the Futura typeface in the binding fiber

Of a plane tree, where Europa coupled with a Bull—Site of the sans serif legal code of Cretan Gortyn repurposed for Trajan’s Odeon (100 A.D.)—Most of which still applies, as we stood before the newly born in a byre, the she-elephant pausing, for her cage to be cleaned, the intending mothers, their doubles, at work with the expansive graphite squaring the corners for the body’s guest—

By the thirteenth moon marked in some regions by elder, in the face of the sedative flowers and instant hedgerows, our block printing encloses the meaning of future assemblies—