VI. Avoir l'étrenne

VI. Avoir l'étrenne

Related rates of the spectral triangle’s streetlamp and shadow—Of a leering face in the customs

Officer’s portrait landscape of pierrot and his lady in contrast shoes (1886), whose inner moonlight

Bleaches her strand of red coral; Perseus, at the Feast of Bacchus, tells hardened at the touch of air, (IV.752)—
After the winged horse, the boy, Chrysaor, the couple who walks around leavings of a vulture

From a crow pulling its tail recall Piero di Cosimo detailing coral in the seawood anchor of his Liberation

Of Andromeda (1510-13) that Vasari overstated in her exsanguinated head (1570-2), and offered then as a blague

Among merwomen as decidual crystal—Red arils of Mangalore, from the harbor of Vasco da Gama, 1493, offloading fertilizer and iron, of jackfruit and cherimoya of a spread (1908) before the one hosted by Picasso, a blague—
Wilhelm Uhde and Sonia née Turk (Delaunay) appeared—Auden’s first Bucolic's boneless winds that blow / Round law-court and temple (September 1953) dedicated to coral island native Alexis Léger, sharing half-done customs
Each waking before their alarms—Eluding the father who’d cut you off by the second part, II. Woods (August 1952), searching sediments in a section of a cave for its residue of fire liberating
Piero di Cosimo’s raw fawns—There, among a calligraphy of branches the pair returning married at Carnaval—Moonlight
Swept over Atlas, changed into a hillock, for Willy Uhde’s Helmut Kolle, whose father popularized vaccination against diphtheria and cholera; improved the Salvarsan method, whose life studies of toreadors were shortened by a heart valve caused by a cold (1931)—This air
Of the shoddier parish cuts pot-boiled by Saint-Joseph-de-Cluny Convent, mixed with vigil paraffin in Séraphine Louis’s pigment mortar —Tears of the vulture

Into such flowers, the luminous Tree of Life (1928), by means of coals of a balefires coalesced ignus fatui, with the mistresses’s rouge—Cinereous vultures,
Hobbled on the ground, find this smear from samahdi Shiva seeping exasperation in the form of four-armed Mangal—Purified of the blague
Iceball thrown in the schoolyard with startling accuracy to the adversary’s nose—Lord of Mars, Tuesday, brass, maces, and red coral—Saul’s stone’s throw that directed the others to St. Stephen’s crown; a detail removed from teachings of the blue cathedral of Mangalore, with its school for girls—As from the fifth sphere of Paradise assumes a pure and tranquil evening air
There shoots from time to time a sudden fire (XV.14-15), where Cacciaguida addresses his grandson, sanguis meus (XV.28)—What Paul did not know, resting at a custom
House, is found in Caravaggio’s horse (1601)—Irritable, for being driven the hardest on its thrown shoe, for its better angels stall its liberating
Hoof on the mount on the way to Damascus, which almost crushes his master’s skull—Peering up from a shadehouse garden resembling L’Umbracle’s, the moonlight

Reflected by Enceladus through 99 Stellavista’s psychotropic skin; schemed by monoculture for corn bioplastic, which necessitated the move, the silicon shaped into a chair swaps with carbon through moonlight
Haunted lignin networks of a tree; stronger now, more adaptable, and less used for kindling—Setting off, a vulture
Gliding the thermals, with each exceeded planetary body with graded landing squares the stop-motion paper of one Oscar Fischinger’s optical poems (1938)—Liberating
The calendar from Earth and Mars, Saturn micro and macro scales arrest marginal cell memories in this place designed for comfort, or else a multitude of hubs move to reposition the arms, shuddering at a blague—
Anatolian warlord Piyama-Radu, Priam’s son had won—Willie, who went on swimming, in The World is Round (1938) is drawn, but turning the filter holder for blue or rose, by Clement Hurd’s mentor, Fernand Léger, whose gas-engine heart anticipated the air-
Fuel ratio to take us past the spiral, equal orbit, and rhomboid of the Palais de L’Air (1937), where the Cubist’s custom

Made space was dreamt by another Ceyx and Alcyone, Robert and Sonia Delaunay—Saturn, due to its oblateness and opacity of its rings displays the custom
Wavelengths that were once taken chiefly as a craniometric feature; Aldous Huxley’s spoken copy rescued from the déchet, the Person in the mud, / Or in the liquid moonlight (1948)—
Solenoids assimilated with parasitic broomrape purr, and reappear like false crocuses in the 1.1 gravity of Earth’s shortened ascent, but the softer ground absorbs—The photodamaged air
Of Anton Giulio Bragaglia’s Thaïs (1917), of life behind a retail counter attended to the non-count shapes and crescendos that purge consumption, is from here, within the bisected cocoon, vulture
Wings spread into a cross oscillating from resonant frequencies from Pearblossom Highway Route 138 liberating  

Divisions of atmosphere into frames (1986)—Overlooking blooming barrel cactus and desert globe mallow populating a drive interrupted with the blagues

Of a single radio station—Retaining these; seconds before the sulfur plastex in the glazing undergoes an abrupt change in viscosity, and the pane shoots out, as if by a blague—
Even though glass slabs of the staircase had been shattered, calyces of the sphere unaccustomed
To such jags; an intact screen streaming a dust devil shadow on a Martian rise; not feeling its opposition as much—Just then, we stop before an overhead panorama of the rings like the thin white slip to a darker base of the winding—Liberating
The passenger train from St. Petersburg—Are we very far from Mangalore, Manchouria; just off Stellavista and M, whose manifold requires our two charts to include every point; some falling unmatched from negligence; nevertheless, rival Mme. Delaunay’s simultaneities found in the geometric quilt, for Charles (1911); her life’s work, in that January’s paraselene moonlight
Then upturning the codex, and in our digitexts, as the most beautiful book ever made, never mind the poet of embers and ash, La prose du Transsibérien (1913)—With the air
Of Jehanne that reads John the Evangelist, painted by Piero di Cosimo (1504), whose tainted cup releases a colubrid comparable to the humble garter snake, with unique genes conferring Tetrodotoxin resistance, when the Calamity unspared most; and then you would appreciate the Hermitage Holy Family’s pond terrapin, after turtur offered at the Temple, which stretches its neck to match the gaze of the Virgin (1480)—Hastening our effort, if distending the form, without the brassiness, to catalog only copies of the crumbling sheer walls of Nyirgongo to the Sea of Japan’s precious red coral apportioned into eighths beyond the Sun’s reach; although, beyond the reach of dismantling vultures—

How to remake the peaceable kingdom sheltered under Robert Bright’s My Red Umbrella (1985)—Our halcyon, without so much as a blague plunging on a white cap on the methane sea, and to raise the vulture,
Herald of Upper Egypt, from Wallis’s field notes, all ivory and jet (1916)—By dies Mercurii, I. Sext, for that eye-on-the-object look (1954) liberating moonlight from a semi-pocked mirror akin to Earth’s satellite, Tethys’s  Ithaca Chasma and Teiresias Crater, the color of the Pearblossom crows’s eggs (1944) backlit by a frozen green band provided by the E-ring geyser from Enceladus—

There, then is the style of the hand-colored pochoirs of Fernand Léger’s Les Illuminations (1949), for Beatrice, his daughter—After Georgie, the ghost, the owl, the cat, and fretful rabbits, when articles for The Paris Times dried up; let us lease the custom air for our unaccustomed look—