VI. Saisir au collet [de la tige]

VI. Saisir au collet [de la tige]

She asked from the topmost rung if she could borrow a book, and then forgot to take it home. Each day another nineteenth-century American classic was added to the stack behind on his desk. Half contemptuously, satirizing herself, him, his library, his ladder, deriding seemingly every human dream and aspiration, she labeled where she piled the books “My Spot.”—The Anatomy Lesson (1983)  

With a head covered like a globe from St. Elsewhere diverting nervous laughter—Recumbent, your stature
Is seemingly greater, when taken above a red gymnast’s mat, where one might have momentarily felt influential, in nothing but a new silk blouse, overstepping,
Until turning to read the lie of the fetus to the long axis underlined in an obstetric text, as a snare—
Setting down the photo-dense monograph of the Upper Basilica of Assisi, for tonight’s exhibit, the sky frescoes—
Whose patron would have left not only birdseed, but suet, and thistle, on these single-digit temperatures
Whereas they were being written; my eyes are hazel; once narrowly detained by an officer to specify; as is, potentially, the bison grass

Of Żubrówka; instead of white wine in a kir, and this smuggled bottle stocked next to the Contras Flor de caña, is spoken for—In its infinite wisdom, the administration banned the flavorant coumarin in bison grass
Lest it infringe upon the industrial suppliers of warfarin in rodenticide—How uncommon threads of the Bialowieza’s sheltered dead wood might thrive hydroponically in a foil-lined box, with heat lamps, from Bruckner Boulevard assuming the stature
Of contraband, if I am silent unless you suffer again, words that made you writhe—Brandishing an engraved matchlocked gun on a tripod against your laser-guided reply, Whenever you’re feeling resentful enough, at the threshold—Willcox and Willcox’s Venereological Medicine (1982), for its pocket’s breadth, weight of a gold bar, the recent vade mecum’s absolute temperature
Resounding censure in your flush, without even it having been said of pseudo-mating combinations creating a hostile uterine environment under Foxp3+ regulation—Overstepping,
Regarded as the subjects were from behind clinic curtains stimulating careworn follicles with neem and minoxidil—Forfeiture, or loss of heterozygosity, for alcohol metabolism; a tumbler moved others to stability, even in moderation, as much is spent of the weekend being caught in its snare—
Recovery from aldehyde dehydrogenase’s conversion of ethanol to vinegar and water, in spite of much misallied dialogue, the drinker’s genotype was one of the first to spell its amino acids incorporating the six codons of serine; first isolated from silk (1865), blinking at the motor end-plates of skeletal muscles, with the only verb embodying that gesture is déchirer, as vellum; determined at a keyboard, and exhorted to come flying at the drying fresco—

Semispinalis buttresses of the neck supporting a conversion disorder; the thought pain rebounded from an inflamed lymph node—Supposing rising damp of the lagoons; with compresses to salvage the fresco,
It would be late autumn, winter's acqua alta, in waders, beyond the scenes from Summertime (1955), where the white-spotted gardenia are pitched by florists into the rio di San Barnaba; the church beyond, housing a replica of Da Vinci’s glider, with tidal aliquots sourced to the common barenas of sea lavender—Subdued by the acquiring visitors as the heirs of Woolworth’s until a draft of arctic air forces through the blinds; after the credits; tearing, but for the grass
In flower, where six interlocutors of The Waves (1931), in a passing instant, know Angela Conner’s (b. 1935) bonded slate and marble valences of Eclipse, where the reservoir glides past the hollow snare
Of synaptic vesicles; reiterating the molecular because it is so difficult—We hear the beech trees and the birch trees raise their branches as if the bride had let her silken nightdress fall and come to the doorway saying, ‘Open, open.’—Marking the manual that is left at the bedside, in the event of any suspicious preputial discharge, with the stigmata of neurosyphilis on the retina—Wandering, for a second time, aloft in the rowel spurs of the ultramarine ceiling of St. Francis, whose stature
Leaning forward to touch, towards figuration, performs disinterest—There were compact discs, then; drawing though the expected fan-whirr of a higher temperature
Laser underwriting mixes—Deer Stop (2000), and in fact observing deer at dusk, walking and reflecting on steamed cars; absent, from what was then called the horse cemetery where one absconded to smoke—Dear stop, rasping at the roots of lyrics, where overstepping

The boundaries of flesh would have been very dissimilar to that sentiment, which now narrowly expresses its gratitude, and then overstepping
Entrances and heaped lotuses in a stupa, in its highest form, unornamented, as the preliminary six layers of fresco—
An office stainless file basket accessed in the meshwork to trellis, an incarnation of Paul Klee’s Rainy Day (1931), with jasmine—A violet-indigo spectrum of the original foehn winds; their temperature
Mounting while they descend—Off the Zambia plateau, the exploited copperbelt and uranium mine where Hammarskjöld’s DC-6 crashed (1961), who was found clutching the woody stems of a bouquet, at first ignored, the littered grass
On a September night rambling from the East 47th Diamond District, coming up on the dedicated plaza—Prevailing thought of Katherine Dreier’s perspicacity to purchase six of Klee’s works (1920), and his American introduction, four years after founding the modernist gallery, Société Anonyme, on the very street, with Duchamp— Hammarskjöld’s body was found in the snares
Of an anthill, already aroused by the slight condensation—The sleeper stretches, having not experienced their mouthpieces, by the posthumously discovered Vägmärken’s final passage (1963)—Trees quiver in the wind, / Sailing on a sea of mist / Out of earshot (24 August 1961)—Speaking, your amplitudes, of runic hymns and their cultivated stature,

Acquainted more so with the intention, from the Mitfords; of the funeral racket (1963) and Chatsworth, and within their somewhat undisturbed statures
All the fragments I had forgotten to mend channeled into the uprush of some wilder, darker violence (1927) seeking to reinvent bereavement by way of the memorial parks, to deposit the embers at the bases of tropical tree stands; plotted on graph paper, in case of storms—There would be no overstepping
Relatives, nor strolls above the vaults without an intermediary Percodan—Protection might be sought, as an overwintering habitat, with scope for kinetic sculpture with water winding the snares
Of a pomegranate (a grenade) as Revelation—Dozing, after five, a human face reforms beneath the wall, where a Cuban bee hummingbird alights the Viñales 1950 fresco—
Supervising the arborist and groundskeepers; Philip Roth would say, more explicitly, to collect tolls, and you inquire if it might be my secret wish to assume this page’s rakish temperature—
Floridity, to dispel unlived complaints; the author most likely suffers from white coat hypertension—No, by the ability to be surprised, in a new grind; without adding, later in life—Overlooking the window onto seemingly unproductive suburban swathes of grass,

Sanctuaries for hares; forgoing a border of angel trumpets that might poison the neighborhood kids, and we might surmise a boa constrictor escaped into the grass

Of the gatefold album cover conceived by the artist; Edith, again, from The Hissing of Summer Lawns (November 1975) surrounded by the stature
Of first skyscrapers; staring eye to eye/ they dare not look away—Once again, does one mulch the root zone of Floridata, the silk floss trees, to drape with plastic for these tumbling temperatures—
Uploading the review gleaned from transatlantic workplaces, of blocking aldehyde dehydrogenases (ALDHs) for chronic pain, individuals deficient one of the two isozymes to efficiently clear alcohol, but less dopamine for addiction; overstepping
Moralizing, without misapplying its opposite, when what originally had motioned John Singer Sargent to mind, Moraine (1908) the blue shades of cornices in the ground, prior to the snares
Of the Boston Public Library commission (1895-1919), which, in some places, are as static as Byzantine frescoes—

Of the more admired fresh faces in their considerations of taffeta, or Sargent’s Venetian watercolors of intervening years, we label the Chiesa di San Barnaba (1913), with its austere fresco sourced from crumbled Istrian limestone and marble; the aristocratic beggars recognized in silk—Where Katherine Hepburn clear-fell into the canal (1955), a portrait in front of the toy shop, with an additional angle and palette from Rio dell’Angelo (1902) with a print of reindeer; initially intended for the grass,
Billowing as a neck scarf; an exercise overstepping the indeterminate temperature in order to regain composure—

We now call upon the author for our best and worst habits, assuming an even greater stature in print; being our own snares, fragmented, speaking between the changing street lights, and nevertheless expressive of Donne’s inducements of the countryside—