XVII. Le dix-septième page

XVII. Le dix-septième page 

Throughout the house there could be sensed, as when music changes not its theme but its key, a little less concentration on the soul, a little more on the body. –Penelope Fitzgerald’s The Blue Flower (1994)

Je suis une ourse / et je nage au centre de ma peau –Rachel Leclerc’s L’Ourse (2002)

I. The spirit duplicator’s rotary drum’s unresting constellations inhales it as the innermost soul of life, and floats dancing in its blue flood (1800)—Seventh seated is Raphael, in Max Ernst’s farewell; capped
Simply, for the sake of the assembled unmatched horizon of hair (1922); continuous with the Aragon
Ballroom on Lick’s Pier—Four years, until the Chicago Aragon salle de danse funneled into the Green Mill bar (1926)—Little Bear’s
Thoughts were; tracing the path to the conveniences among magazines, with what the North Sea trawlers marketed hydrozoans on shell-mounted magnets, as air ferns—Of himself, as his life's misbegotten coursier—
On the last commission before Raphael’s death, The Transfiguration (1518-1520), for the Narbonne cathedral, and intended
Pyramidal organization, whose Chigi patrons once boasted of discarding their porcelain plates into the Tiber, and did they receive equal consideration as the Styrofoam takeaways sinking into the sludge of the Gowanus Canal—

II. Silent messenger of the secrets, infinite—Edith, to whom he must return, with a Morton salt cylinder, for her pot accelerated to boil, and for later dialog referring often to the four rings, seventeen carbons, of a steroid nucleus colored in the recycled and white clay bodies of hexagonal tiles beneath which is heard a swash of an outflow pipe exiting into prospective canals
From the worst lavatory of the City, within a supermarket—Ganglia of regenerating limbs off the glue paper that focuses the molting roach ecdysone; regarding the mainstay of cholesterol similar to our own—The purple, bell-capped
Mycena purpureofusca on the pulped pine underlayment; fermenting as it starves, in the seal of the commode, and how to promote this commonplace of forests decolorizing aniline dyes, whose copper oxidases, laccases, are intended
To remediate all the painted print and garments staining from beyond collective memory— Blue pervious Rhodophyta of Brauronia; out of childbirth’s ruins, with its saffron robes taken up again, from the Villa of the Mysteries— At the blue hour, the point of issue of Elsa’s eyes (1942), of Aragon’s

Repeating the contest of Sebastiano del Piembo’s nineteen figures; among them, Lazarus blocked in with Michelangelo’s draft (1519), The Transfiguration of Raphael’s life it replaces (6 April 1520)—Little Bear’s

Angina starts up again, where he finds Edith pouring over a catalog of gelatin silver prints, Minor White’s Essence of Boat, Lanesville, Massachusetts (1967)—The luggage aft; buried in the snow drifts, the coursier

III. Midnight, then a pony, is loping for them to chase (1978) out of the blue distances—Edith, the space fills over into time, as the body into the soul, and the ensuing buckskin coursiers

Dam Red factor, Sire silver dilution, rear in hemlock forests, whose knots shatter the sawblades, of Leonora Carrington’s Eluhim (1960), from the Bronze Age, thenceforward, with the shin uniting the two Names—After the canals

Of ash, and the castes of the bodies, the Mosaic bronze serpent the black section of the mural’s winged treble of the same—Little Bear

Vacillates, as the dolphin at the base of that oil on canvas, finds the Vogue trichrome imprint of Amedeo Maiuri ‘s La Villa dei Misteri (1931), which called to mind that artist, her preponderant shade of Pompeian red (b. 6 April 1617)—Raffaello’s sanguine studies were, in themselves, from Leonardo—No longer with cap

In hand, Raffaello’s older version of himself possesses a middle part, with a friend (1517-1519), and our intended

Visit to the Ashmolean, for the neotenic sketch of Raphael at twenty-five (1508)—Diverted by Hunt’s November 11, 1866, 1 p.m. and a spagyric of sepia and gum arabic of Early Morning (1825); Samuel Palmer understands a Socotra dragon tree, without seeing it—Relate to Anton Mengs Raphael’s Self-Portrait in a Red Coat (1744) at sixteen; who, likewise, dies in Rome (29 June 1779), then New York’s Raphael Soyer, at twenty-eight (1927)—Uesca, Aragón

IV. The crystal wave […] the mound against whose foot breaks the flood of the world figures as the province of the diplomat, Don José Nicolás de Azara, who arranged that the Dresden native, Anton Mengs Raphael finalize the dining room, the saleta of the Royal Palace of Madrid of Charles III, with the apotheosis of Trajan (1774)—Uesca, Aragón,
Petrus Alphonsi (baptized 29 June 1106), aside from his slandering tracts, decided the Trinity and the Tetragram into a pyramid, for a shield—The Austrian physician, Moishe Stern, Zilbert, assumed the nom de guerre of the Napoleonic coursier,
Kléber, and with Soviet bearskin ushanka, posing improbably as a furrier, fought in XI International Brigade November 1936, to vanish in the Purges—Spagyrici, which was inscribed on the coffin plate of Sir Thomas Browne (1605-1682), who knew of gleaning glowing phosphor from the household’s saved urine, and whose reading list Novalis intended
For study; his hand’s volatiles foxing the pages of the 1711 Sales Auction Catalogue, and endowment of the canalized
British Library, in bound form, for the merchant class—The Hermet’s cell, for making a life’s work, and a stay at Le Raphaël, 17 avenue Kléber, from Elias Ashmole’s Theatrum Chemicum Britannicum (1652)— Little Bear
Hastens to mention that a field doctor drawn by the alchemical pure matter had proven the urea on a pocket square precipitates chlorine gas into harmless dichlorourea (1914); the cap

V. On all-uniting angel-comrade, the Imagination, for the transcription of metabolizing genes in the world’s midden, where antibiotics are found—Cap’s
Off to that investigation prior to Rutherford’s nuclear transmutation of 14-nitrogen into 17-oxygen (1919)—Seemingly pathless, the Aragón
Drains the Ebro delta to Barcelona, where Audouin’s gulls congregate every year—David Gruby, working in a shared department of the Muséum national d'histoire naturelle dedicated Microsporum audouinii (1843) to his departed colleague (1842)—Tinea capitis is the soil ringworm stimulated by the sloughed nitrogen, urea and arginine, of human settlement; from this immoderately hard list of recognitions, Little Bear’s
Elapsed precedents, one sifts as Novalis, from an unmined pocket of the Ore Mountains, for Love—From the Blaufarbenwerke, for blue cobalt glazes, and the Weißerdenzeche, kaolin for Meissen, and much later, St. Joachimsthal’s silver veins, the pitchblende to the scientific coursiers
Of the first radioactive elements—The April constellation containing Alioth, ε Ursae Majori, the tail of the sheep, with lower lineaments, the pointers, Dubhe and Merak; together, intending
Our bearings to Polaris, or a nocturnal vision test, across the desert, for the amber spikenard, lubricant from a broken alabaster jar—The banner, Mujeres consciencia (1972) for the Dionysian ensemble’s mallow-green parapet, the malachite, albumin, asparagine slant of Löwenstein-Jensen medium isolated from a secondary site; exuberant synaptogenesis before the Lethean canal

VI. Death's pains are but a bursting forth, of incorporating all the lands of the Earth; capacious for the Hubble Deep Field, the constellation of Ursa major, framed in the Windowsill Daydreaming, Rochester, New York 1958, printed before April 1978—Billowing into and out of mind, as they traverse the scissored concrete canal
Ramp to the concert, and its 300.000 tessellations of birds, as if they were forged from Lalique’s flacon for L’Air du Temps (1948) or triangular facets of a flock above La Géode (1990)—Outside the capital
Of the City, Edith’s conceals her disquiet from the Hexagram (Chichi) Water over Fire (1963); the windowpane’s mycological or frost array offering the guise to carry away children—Intending
Just the opposite, the horse and rider approaches; foreshadowed at the transfiguration of St. Dominic (6 August 1221), and any one of the seventeen rehearsal rooms; the largest, veneered to breaking waves—Raphael stirs the reflected clockface of Aquis submersus (1919), of Al-Andalus, Atlantis to Aragón For the double radiance of XXX. Lî, in the bronze and dream filtered through the olive groves—Little Bear
Disparaged Torre Agbar’s draining of the water table, for an entire year, for 30.000 square meters of office space; mitigated by its ongoing conversions to solar—Acceding to the Philharmonie’s denying maker, Jean Nouvel to the coursiers
Of a vision too innovative for comparison; the secondary masses of modular speakers, the metallic basket-weave climbing the entrance, to a polished hive—Liszt’s Sposalizio (1858), with its terminating
thirty-second notes held as they were replayed down the Grand Canal, where Raphael painted the betrothed favored by a thyrsus and a yellow robe, from The Golden Legend, and a reversal from the Roman fresco among feverish coursiers

Little Bear, whose oxbow courses in her stead; despite the custom for cantilevers, wants to express for Edith, Raphael’s vanishing point of the temple, to air (1504), where she demands that it be blocked with flesh—

Beyond Hardenburg, who wrote of Sistine Madonna (1512-1514) original in Dresden, loomed in saffron, and again, revealed in La Velata (1516), as we perceived the unseen blue nectary to an insect gatherer, as if it was lifted from our notation—Minor White’s sun slips over the horizon of a moment, sealed in six wings, the fire on the surface, to color our veils, with only time enough to expose our hearts,

Far from the rehearsals of grace intended by Aragón’s Torre del Agua (2008), an  electric blue profile of a droplet—