XIV. Imprimée en petits caractères

XIV. Imprimée en petits caractères

Today is Jefferson’s; by way of the Chinese, a Bazeries dial abridged to the date of closed branch
Offices; par contumace, and apt to spur writing in off-hours the story of life on Earth to present—
From Cy Young, Hall-of-Famer (1937), who sidetracks filming of the Depression South; consecutively,
Upstate plows unearth pustules, scales, and striated fossils of sea scorpions (444 mya)—Roman
Vishniac, on behalf of an aid organization, prints the legless father in a barrow, from three decades in a pogrom before the liquidation of Warsaw, where Mr. and Mrs. Sternberg berthed, onto Krynica to honeymoon (9 January 1937)—
Affects; submitted contrary to their backing assets, Queen Wilhelmina of Orange-Nassau wisely abrogated them from the consort first encountered at the Winter

Olympics in Bavaria (1936)—A majority; natives, and since their parents could not pronounce perejil, with a trill, were cut from the border of Dominican Republic (October 1937)—Cap de Bonne Espérance would have more of the clear skies of Northern winter,
Out from under Cassini II, Abbé Nicolas-Louis de La Caille imitated Newton in the plague years (1666), by trusting principles for the unearthing of fourteen Southern constellations—From being a further branch
Of old stock effaced by death of the paterfamilias, La Caille triangulated the skies of Table Bay, with Lalande simultaneously from Berlin, in 127 nights (1751-1752)—In a scientific honeymoon
Underwritten by La Galissonière’s commission to find its exact latitude and longitude, the starwatcher mused on bycaught Cape horse mackerel, dusky dolphins, rather than the Dutch assumed imposition of the indigenes—Over which Shelmerdine sustained his habit of sucking peppermints, if to preserve equilibrium flying over the Cape of Storms (1912), beyond where La Caille aimed his man-size sextant, against the lunar calendar for visibility, in the spirit of the present
Mythology of the first seventeen volumes of the Encylopédie (June 1751-December 1765)—L’Équerre et la Règle (Norma), the square and rule, for the bolection moulding of a drawing room later hanging a linoleum block print of Folly Cove’s Mary Maletskos: Queen Anne’s Lace (1967), a mote in the white forb, and one of Hester Prynne’s black flowers (1850); consecutively,
Less than a golf handicap, and beyond, what is now the emotional quotient for hiring; trait model motivation, regulation, for extorted production of a competent adolescent before it was outlawed, or else Roman

Pontos, and Ovid’s permanent exile, though the Rome depicted by Turner (1838) is unmoved—Citing Morris; if the first Egypto-Roman
Printed cotton, in the unanticipated Lord & Taylor full-page ads of their wares, Virginia Demetrios raises her sons in the country, but not completely away from such good, loving people and their microagressions, of promptly locked compartments and startling incomprehension at store counters, the 5th Avenue and 48th street suburban snow-icing of a single-family home in winter,
Notwithstanding Squire J. Vickers’s mosaic above the 40th street mezzanine; a blazon of the Ochs family (1909), if forced to depart from conviviality, then reinforced by lynchings; consecutively,
Marjorie Flack’s Walter, The Lazy Mouse (1937), the household marooned—Virginia Lee Burton’s Choo Choo (1937), in the feminine; having no conscious awareness of La Caille’s baseline expedition, just preceding the birth of the Gloucester Universalist, Judith Sargent Murray (1 May 1751), went off the rails, but was then glad to be found—Darkness enfolds Paul Manship’s New York World’s Fair sundial, and a world branch
Steered by Time and the Fates of Man (1939), and is to be read around Palestinian Arab revolts, in keeping the immigrant quotas whole, or the Cleveland Fisher Body Plant riot, since the screen honeymoons
Of The Wizard of Oz in August, and Gone with the Wind that December (1939)—Mike Mulligan and the steam shovel, Mary Anne, have mined their inevitable foundations; decline, the first jackknife of Fornax in the eastern loop of Eridanus, and must carry on, until their desuetude, as boiler and custodian (1939) among the concerned; while another Gloucester son, Clarence Birdseye plies the novelty of flash-frozen aisles, she sought to  free them from the simulacra of comics; worse, for their bubbled panels from the unassailable present—

Herself, the cross between a poet mother and the dean of the Massachusetts Institute of Technology, and no less surprised from know-how, the star-thinned sector of Equuleus Pictoris, the painter’s easel viewed as a small charger—Calico the Wonder Horse (1941); portrayed, always, in symmetrical cambers of road, flares from the Allied delaying action, among other theatres of war, if not exploding ditches of Leonidas’s Thermopylae (1941) that presents
A sword, or pistol to the disheartened—To Themistocles, who ran blockades on liners at once more maneuverable than those mounted with nearby Carina, the ceremony, where she came in from heaping April snow, and to the radioed surrender of the horseshoe of the Malaic gulf—From the second Metamorphoses (II.401-503), and second Fasti (II.183-192), the Arcadians Callisto and Arcas, following Ovid’s Roman
Consistency, without doctrinal scrutiny making them dissembled broken things; mount an autumn nadir’s righted ladle above the rooftop of The Little House (1942)—Tops of the midnight trees move helter-skelter (1973), where Die Sonnette XVII (1921), women like lutes[;] and almost uneducated by the world are paned-in, from blue light hazards of all-night sodium vapor lamps—From a pitch pine forest fitting together Staritsa and Rzhev, with soldiers trudging over the clinkers of the massacred Red Army, to break out into the West—Honeymoon,
Flitterwochen each Christmas; they recognize that day in July, which now belongs to waning holly, the holm-oak, and sometime wreathed the sphere of Gloucester’s Oak Grove cemetery, as the one hauled off to Battery park (1969)—Found, from first fastening shovels to horses; how the cornel, eponymous in Greek to the spear; plummeting in water, dying fezzes, and lumbered the Trojan horse that is known to us, here, as dogwood, is rendered in the crawler tractor, Katy (1943), who hoards winter
Into snowbanks, and maintains peace and order in Geopolis—While panzers shattered Cambrian trees; upsided in Life Story (1962), she staged it, in incandescent monofilaments that follow tensile filaments that pull funiculars—Pictor’s branches (1922),
Dappled in the Angel’s share, percolate the barrel staves from distilleries of descendants of deportees of the Warsaw ghetto (1941), and the prototypes of Magdeburg spheres (1654)—The mayor, Otto von Guericke’s forged metal ones; with the atmosphere thrust by his pump, were made consecutively

To Michael Maier’s description (1617), from Zosimos of the ninth nome of Egypt, Khemmis, of the kerotakis, or better known, as the bain-marie, where Galileo, and his student, Torricelli, labored consecutively

To force air restricted by a mysterious 32 feet, La Caille’s Antlia Pneumatica (1750)—A team of eight horses on each side could not separate—On this morning, of forgotten strangers, with reformed proselytes banging righteously as the police, the constellated ship’s mast, Malus, purifies the fool (mat), and the ever increasing crabapples at present

Pollinating the orchards neighboring the little house—K. reconnoiters the obstructed passages of The Castle (1922), where Felice Bauer; incensed, reads of her surname, by turns a peasant and a birdcage—

Rechristen branches

Of the fire-sparred galleons of the Hürtgenwald, for one in a dice throw and a marriage present,

Miró’s La Ferme (1921-1922), whose void at the center laid for nine-months as an abandoned well, and then propagates a y-rooted lepidodendron, the ur-eucalyptus—A cutaway of the stable offsets the teetering patio to the best advantage, after the Roman

Caelus, after Ouranos, and stylized into the “H” of Herschel (1781), or ETA, the voiceless fence, or ladder raising obdurate matter; the Caela Sculptoris is, however purposeful without impact—When the honeymoon
Of residential building was supposed by the efficiency of seven-part alloys solidified into a single crystal, as many luxury high-rises triple their floors, as compared to the deliberated cement emissions and undulating timber frame construction—In her penultimate year, Virginia Lee Burton may not have heard of the Sperone Gallery, with the green cotton canvas of Gilberto Zorio’s Tenda (1967), whose dried seawater thickens the reticule of sky duplicating winter—

Collaborative fine arts we have read as Life, for such humidity forgoing vessels, in the overspill of days made by Carboniferous plants, and the rediscovery of their sequences in drive shafts—Their pages; some of which were encased in the yellow-film lamination of libraries, have touched upon the serenity of monochromatic winter’s
Dropped payload of extra-tropical cyclones; conditions under which it is superlative, as UNStudio’s Erasmusbrug; Queen Wilhelmina unfastened (1994), to fully apprehend it, only then, as a swan—Consecutive,
To a household altered to the surrounding state of disorders, and glazing; the lack of beveled edging is guessed, while unlamented—Moreover, both the cruciform or calyx house proposals, behind whose eyes we are both impressed with the condensation of ice melting into the full-thickness of the tablets of pedestrian walks, where Maybelle the Cable Car (1952) is likewise exposed to obsolescence, from further paving the course into an anywhere, from Fisherman’s Wharf to Union Square—Countered by a honeymoon
Of reclamation: Zorio’s blemished cables into seas, or skipped Piombi (1968) into bordered crucibles of ordeals and ideals—Spears through stars, to purify their requests into deeds, which presently
Scan the polder landscapes, for a strength derived from persistent groundlessness—John Newton’s anonymous Omicron letters (1774); composed inversely, to demonstrate one’s scale and importance; and therefore, then the independent branches
Of astronomical study by a quail (La Caille), who trained Hadley’s reflecting quadrant (1730), to resolve such distant stars, given the unlikely case of eliminating parallax—There is a Roman

Wariness in fireproofing, in the earlier work, and seen at Villa Wilbrink (1992-1994), whose sandstone bricks are uninterrupted by doors, and then, there is the defining switch of W.I.N.D. House (2014), whose twisted planes arrived at the mien of flowers—Shaped like a horseshoe, wintery Rotterdam’s verdant side takes of UNStudio’s Marktal (2014); upgraded at some future to trademarked Coelux lighting, nevertheless, on Roman embankments dried by the pumping stations with operative Archimedes screws—

We pause over the drawn circle of the unseen Moon and the coruscating trajectory of the concealed green lion and its gold-fermented Sun’s traces—Foundation to Beauty, after consecutive honeymoons of interior castles, haunted frames of the mother city, Metropolis

And other possibilities, together on Kepler-22b, from Cygnus, the Swan best seen in the North from June to December, when the lighted autumn branches; too often just taken for their remedies, become heavy with fruit—