XVIII. Par sentir même à l'ombre

XVIII. Par sentir même à l'ombre

You stumble against that nameless threshold where the erotic drive becomes meaning. You pass over to the other side, even though the third person, the non-person, she, has no idea of what this could possibly mean, because the sensorial meaning has not yet hardened into conceptual meaning. You stand on the edge of the originary repression, a psychoanalytic dictionary would say. Hovering in the place at which “most people” go mad. But not you, Teresa, for you seize on that dazzlement, the brilliance of the jewel, and dim it beneath a gauze of written language. And in the telling, the writing, your body changes. – Julia Kristeva’s Teresa, My Love translated by Lorna Scott Fox

Without having concluded anything to merit such regard, its bright mysterious heart rotates

Into view through lunar marine thoroughfares and staircase words at last arriving from moradas

Each lit by the eye of a bird—From December’s 0 degrees at Capricorn and July’s new moon conjunct the Sun at 23 degrees in Cancer; two points for marking time among fifty queries posed to Job

When granted by one’s own right hand, the only letter to float above the line—Gisèle Prassinos’s
Trouver sans chercher (1975), and voice of the Minotaure (1934)—Forever Mario Prassino’s designs locked

In the forests of Richard Dehmel (1896)—But a special warmth […] will transfigure the strange man’s child—Schönberg’s sextet (1899, 1917, 1943), before Klimt

And Warhol’s Kiss (1908) & Kiss (1963)—Succedent to the alleged failures of the muses of Philosophy (March 1900), Medicine (March 1901) & Jurisprudence (November 1903) each tangent to the interiors of their squares—Klimt

Suspends the slim-shanked accused from whom the satellite cells have removed in Baudelaire’s Chevelure (1857)—After Éluard’s Ta chevelure d’oranges dans le vide (1925), where we once again conceive of this regression from Vermilion Sands’s short reach of rayographs of orbits, and Pluto rotates

Absorptive, ultraviolet to auburn among its pentalogy of moons—Despite its recent maximum 27 degree tilt, the Recess locked

Out any receptive terrestrial astrology; outcropping from prints made from negatives of Earth, into the moradas

Of seven days of creation in the corrected state, and as such is Teresa’s Marrano condition of ten becoming one—Another Kuiper Belt object, as Pluto, coalesced as Saturn’s splattered moon (1671)

Iapetus, whose exogenic mountain is at last proven from walking its angle of repose—Jobs

Minding the watchtowers of Cane and Marble palaces from Kubla Khan (1797), I function/ fertile, uselessly repeat, as Gisèle Prassinos (1934)

Advancing her own auxiliaries—Subheaded, XXII. Tempus est iocudum (1936), from the laboratories of Ciracylides Cosmoceuticals originated from clock loops in plants receiving a nearly complete ten hours, 32 minutes, 44 seconds through the involuted circuits after Gisèle Prassinos’s
La Sauterelle Arthritique—Only in 3-D pictures saving the neopointilistic ductus of every pore, and in the flower carpets of Klimts—
Blue pulses concentrated by the proximity inapplicable to such a being fed into the job
Printer selecting upregulated genes intended for photoaging chromatophores of the human epidermis—It was Venetia Burney, who submitted the name of Pluto, for that accretion that could be seen from trips amassing sonic fertilizer precipitating on Titan; prefiguring the knot of her malaise, the Tombaugh region (the heart) and the Cthulhu (the whale) reassembling ocher plana and gray, granitic sierras of Àvila, whose bear monuments were made by Ouettones, and found in Poland, and rotates
Aristotelean punctum saliens; increasingly feverish, for being untouched, and chastened into Francis Ponge’s La parole étouffée sous les roses (1949-50)—His sitter, Eugenie Primavesi (1913), wore simply a favrile ring, with an inset scarab by Tiffany, on which he labors, this enigmatic agent of contact and sensibility, already bearing signs of overuse, the left fifth and four fingers bent into a sign of benediction—Alternately, Schumann’s hand (1852-1856) is locked
By therapeutic mercury vapors than by the Dactylion (1836)—Sought after its maker’s death, the Primavesi’s Baby (Cradle) (1917), or Hope wrapped in the mantles of the world, would be read by Teresa, from the moradas

Of the newly founded Carmelites of Alba de Tormes (1571)—Beyond her fifty years of perspective, and ignorant of compositional Latin, Teresa receives an opening from the Zohar, for Gamma-Iota, Gimel-Yod, for Gaia; now thirteen cycles absent, and repressed in the crystalline morada
Of the much-hoped for daughter, renovated into a patroness, Mäda Primavesi (1912)—Doña Teresa de Layes; the fifth; and bitterly, not a son, of a noble family free of Moorish or Jewish blood; who likewise felt with the searing candor only available to a girl, or a certain breed of lady on Laguna West’s pallasite dancefloors, Gisèle Prassinos’s
Ages of woman, from her illustrations for Lewis Carroll, Carte de L’Ocean (1946)—For Doña Teresa, La Madre elucidated Yinon, yod and nun, for the kingship of David, who was saved from miscarriage with seventy years of the thousand apportioned to Adam (Genesis 5:5)—Her dream was of a beautiful house carpeted with white flowers; with locked
Petals like crosses gathered to the four corners; we are looking at a microanalysis, before much of it was decomposed into pixels, to rotate
Beneath so many eyelids (1926), of the field contrary to Job’s
Withered flora and fleeting shadows (14:2)—We recognize in white and blush peonies from the Japanese dressing gown on which Mäda sat upright for Klimt's

Portrait—Mysterium Coniunctionis (1963) of this evening’s report of the cryovolcanoes hazing the E ring, from Enceladus, the Haute-Savoie of the Saturnian; divesting its analog inimitability for Pluto’s orbits, and a new naming for snow patterning nitrogen in the crimson peripheries of auroras foreseen at the Hexagon—Since parting a sphere of cooled lava, here, there is a nostalgia to monitor Klimt’s
Danaë (1907), after ginger-haired salonistes of Henri Toulouse-Lautrec; informing contemporaries with their compatible phycoerythrins assimilated by Degas from Shunga prints—Surveying all of these, to find them lacking a fixed-point, Barthes punctum (1981) that first moved by a photograph of his mother—Teresa has flown from the morada
And its land cover what little rain descended from ice, where Bourgeois’s spiders, with their towlines of silk carbon nanotubules, gird the conservatory allowed to swerve with the competing octaves—Weighing Job’s
Former ignorance by being concluded by the authorities; not condoning, but inclusive of the lone wolf incendiaries whose indignations pressed the notion of Maimonides’s karab, to touch, after the angel at the hollow of his thigh (Genesis 32:35); which, in another sememe, signifies to cry—Parity in Prassinos's
Adult writings renders such longings commonplace, as if left to explain the exposed sitter’s narrow shoulders shuddering from an infant, from corticosteroid inhibited prolactin, at last to move through the permeable walls of the liquid jewel—Maternal muralist of the kiss to the world; he decorates in casein, with its quarter constituent found in humans, as well-considered gimel-dalet, for Gad, the lost tribe, and seed of the coriander, with moon-ink of the yods, the sinew inflates—Braises de satin, / Le Devoir s'exhale / Sans qu'on dise : enfin (1872)—Lapped for meningeal immunity, with its gammadelta-keyed T-lymphocytes’s locked
Fit for learning the path imaginary fish doubled through a silver bolt, and rotates

Otherwise pensive moods, where tannins tone the same lineage within ruminant gut mucosa beyond where it is conceivable to rotate
Such stars into focus—The topic of research remains incorporation; colic-prone horses drinking from Fuente de los Amantes (1966) and Cuadra San Cristobál (1966-1968), or their ideologies, on the roof terrace of Barragán’s residence at Calle Ramírez and into the modified stable entrance of La Capilla de las Capuchinas; the primed adobe found there is, in all probability, mistaken for yellow by equine dichromats—Klimt

Is brought down, as Jacques le Fataliste (1796), by his mount’s run and return to the hangman and once master, before the pink spreads across Judith’s chest (1901) locked
In twelve lines, for cubic foundations, cleaved by the second Adar, the pregnant month, 13^th of Adar’s reprisal by the rose of Jacob, Esther, Ishtar, into the undeserved morada

Of her selves—Magritte’s La Clairvoyance (1936) lingers in the flight observing an egg, and the absurdity of the flesh de Milo, La Clairvoyance (1965), is the jobbed
Teresa, Sylvia Leclercq, or any of the fragments of the persecuted girl, Gisèle Prassinos,

Who will breakfast on a nectar of flowers converted in the rotating 309 triangular magic key, for spear, grass, and gold—Gisèle Prassinos, writing Qualités  d’apôtre, J’ai parlé et mon être brave a gémi—

With the most expressive parts of an otherwise locked body, the painter, per via di levare;  lifted from the ten books of Alberti’s De Re Aedificatoria (1443-1452), repaints Adele Bloch-Bauer II (1912), using her name this time, whose later achievements in fabric covered, with a hat’s dark halation valued at XI. Strength for the nun’s fall five decades have unchanged in the solar system, the morada
Of entering, attain—Adapted from the pedometer, Leibniz’s stepped counting drums (1672-1694), inside the subject hardened, as when Moses pulled from his levered heart, a snake—When Sirius conjuncts the Sun, and last harvests were moved higher up to temple granaries

After fifty-five years, The Lover (1984), which justifies duplication here, where impassivity threatens uncoupling, when, at last, the job inspired by love, Klimt insets them in gilt traceries, Dionysian bindings of ivy, and incarnates the waters in the nun, the child between the water snakes—