XVIII. Passer une écriture

XVIII. Passer une écriture

Her expression—something that filled the Au. with pride and joy—as she looked at K. was one of satisfaction and benevolence; asked by K. about Haruspica, she pointed to the picture on the wall, which was indeed impressive and—not colorful but colored—hung, five feet by five, over the sofa, and—although still incomplete—radiated an indescribably cosmic force and tenderness; the design of her uncompleted life’s work was not merely multilayered but (they could be counted) eight-layered—of the six million cones she had by now entered perhaps thirty thousand—instead of taking a cross-section she had designed it toward a still unformed horizon. Leni: There she is, maybe a thousandth part of her retina, when it’s finished.

 –Leila Vennewitz’s 1973 translation of Heinrich Böll’s Gruppenbild mit Dame (1971)

August bread’s current embodiment, with the well’s portrait of Trakl's reddish fish opponent-processed
As infinitive, capitalized, and rising in the green pond (1913)—For eight years abroad, Clarice Lispector’s
Occasional photograph in fur was misassembled glamor for contact comfort, against the inhuman variabilities
Of central air—Now, with the foundation off, and the deck fanned, as Heinrich Böll’s Leni, the one with a flower on her breast—
That she was a thirty-year-old woman, and too often in the place of imminents who slam the door to no one,
Subtends one day less, after Breton’s Le verbe Être (1932), for which Ilse Kremer had written in a separated, otherwise rose

Tinged, condiment streaming, “to have” on a prewar mirror—From August 1815, Schubert’s Op. 3. No. 3, the phantom Heidenröslein
After Goethe’s violet; crushed by a unthinking girl, and set by Mozart (1785)—Predating the horse-drawn trams of the Cologne Stadtbahn, and Zola’s La Faute de l'abbé Mouret (1875), from sections unrolled for rationed tobacco—Serge, whose clerical work precludes faith, processes
Female parishioners through the marble likeness of Cybèle, for which Mantegna portrayed only the righteous Cornelius Scipio extending his right hand (1505); Albine, no different from the ones
Of Beuys’s Rose für direkte Demokratie (1972) ascends the optical infeasibility of a meniscus into thirteen petals of the rose, alone, with later grafted measures of mercy of the unchanged Clarice Lispector’s
Thirteen Names, which become The Hour of the Star (1977)—Had Boris stayed in the Soviet paradise below ground; riding out the occupation with variabilities
Of the groom’s unearthly horses calling into the room where a country doctor must lie down with the wounded; refrains, and whose fur catches in the spokes of his trap (1917); bearing the liabilities of false papers longer, not to die in an iron vein—Left with the son and Rebecca Horn’s Cornucopia, Séance for Two Breasts (1970),

Leni, with her pram, past the honey sandstone; seemingly hammered metal, portal of the North Rhine-Westphalia cathedral; known to her by its foundation stone laid on the Assumption (15 August 1248) and the Ursuline arrows imitated by unfused, thick-sheathed, and hollow young skeletons of the Goldene Kammer—Discerning only her own breast
By its diastole, though she knew the then-unborn Rosemarie Trockel’s non-reflective gold glazes of the Liquefaction of Mother in molten wiring of gypsum coral ceilings after the thousand-bomber raid (May 1942)—The diplomat, João Guimarães Rosa
Issued some of the few Brazilian travel visas (1938), at a lecture of her mentor, Claude Bernard, whom Zola read for the fixity of the internal environment is the condition for free life (1865), and by the doctor’s son, Edvard Munch, who economized in the perfectly turned model, Rosa Meissner, at Warnemünde, for the rubicund Femme en pleurs (1907-9)—Rahel engaged the doctor on a seldom day pass to Hamburg on the digestive variability
Of raw cow’s milk in Minas Gerais; those that were able, forgoing its benefits completely, for she studied the retinas concentrating yellow riboflavin, and those markedly deficient in varied species—Before her, a process
To visualize the gorse across the Channel; never having spent time on a wasted farm, the Sister who became a spring, in your clandestine reading, think of her—For the head of the people is one
From Grande Sertão: Veredas (1963); resh, the stem’s head of a sunflower—Second Genesis postpones as a snake, a thorn, at last enclosing a river went out of Eden, Pison, before the appearance of woman and her auditors, who cannot live it, the Albigensian, Clarice Lispector—

That which had only been seen by terrestrial telescopes, like the cockroach’s collaged blind fertility of its gaze, originating from an earlier stopover at the perfection of the planet Mars (1960); Marsilio Ficino, whose ascendant Saturn contacted all the roundels of his chart, found the Red planet’s orbital velocity disconcerting the cosmic scale—Clarice Lispector,
G.H., reenters the room, with its sweeping intentions at the July 14, 1964 Mariner-4 flyby of Mars—And it became a now, fifty years, exactly, the ninth wave of plasmaspheric wind to Pluto—The salt of life, on the page of a breast
Of a Lincolnshire marsh—Stefan Zweig’s second Master Builders of the Spirit would say of Hölderlin, who repudiates contact with everyday life (1930)—A pictured harp seal pup cluster of thirty cows, by one
Sight-mounted eyepiece and tripod for birds (2015)—Johannes Bobrowski, after serving Soviet corrective labor, reads for the children’s imprint Altberliner Verlag (1950), with their import lasting from verse to verse: / childhood— / then I loved the oriole (1961)—Before the universal equivalent pronounced by Jacques Brel, Rosa
 Rosam rosae (1962)—There then, celestial res derelicta renewing its usefulness in time, Proof that there's a purpose set / Before the secret working mind (18 July 1948) in view of the variability
Of admission of the sacrament, from Frau Gruyten’s Ossianic readings molting a single graven wreath or windrose of the Weimar 5 Pf. green, with missing valuations found by the householder, now Hoyser, of their apartment building that December, 1944—The process

Of living consists of errors—most of them essential (1967), assenting the Roman Renato Guttuso on the process,
A crucifixion looking like a still-life (1942)—Where Van Gogh's sunflowers condense clusters of spent matches into range eyes (1971), and the Palermo market stalls; much like those of Campo de São Cristóvão Clarice Lispector

Frequented as a girl, screen the inscription on the fountain, La Vucciria (1974) in Palermo, or confusion; aging through the eyes of Monet and Renoir one summer at La Grenouillère (1869), with the variability

Of their results hanging in the Metropolitan and Nationalmuseum, Stockholm; their side by side prints slump in the tropical air—The same wet August weather at Langemarck (16-17 August 1917), in the conforming runnels, Heinrich and Erhard (1943) hand over an antitank gun to the Danes; for them, Leni leaves dried heather in every breast

Pocket; the purple flowers bent where her and Boris’s heads had been in the crypt between sirens—Clarice sat at the Solidão (loneliness) Weir envisioning this girl from Tijuca who had unexpectedly, as a tranquil boat bursts into sail on the waters become one
With the convent garden hot spring—Sveglia, Califfa, out of the Martian rise of the afternoon; she gave the bouquet of roses to Carlotta, saving for herself Report on the Thing; as it happened, by a tear by a Roman youth with a fish hook, with its divisions of eighteen, thirteen, and five green leaves surrounding the rose,

Who is Armando, her husband, coming through the door—Irene Corsini reopens the insolvent wafer factory upon which the citizens of Oltretorrente depend (1970), as Liana Hölthohne, who employed Leni until 1970, spoke of her neighbor in the Alastian village, Ernst Stadler, who wrote Roses In the garden bloom for the second time, before dying at Ypres (October 1914)—The greenhouse keeper caught vestiges of rhomboids, triangles in Leni’s forms from their war trimming days, by which she penetrated the process

Of reaching the Garden in the East—After Bobrowski’s Samartian Time (1961), from Yesenin’s Persian Motives (1921); the latter, who had wept on the balcony with Isadora Duncan of that piazza in Parma, where the Communists delayed the Fascists (1922), and for the unchanged lot of the peasants (October 1917)—One

Full dropper of soluble potassium iodide; to be applied for her rose handler’s disease—She had to be frequently reminded of the top left quarter of the wreath frame, for assurance, the Pfeiffer girl suggested they bundle the tablet form for survivors of the atomic fallout in Japan (6, 9 August 1945), after a latecomer from Heidelberg demoted to toilet attendant had painted rose iodine on the convent girls’s wounds—Ringed Chiron, which runs parallel to Saturn in Clarice Lispector’s
Nativity, W.S. Merwin and Olga Carlisle (1968) together translating Essenin’s light sinking in the red hills, and then someone assembles a bridal wreath, leavened with musk written eighteen centuries ago, for the variabilities

Gathered as time, its sweetness is a surrender to the moon unlocked in the personality shaping this breast 

Rising over reading an ivy-covered oak tree, thence through an elderberry bush—Breast level to the horizon for the discipline upturning Joseph Beuys’s multiples, using Martian iron, he called waste, Staeck edition, Magnetische Postkarte, Heidelberg (1975)—The young floribunda rose

Through corroded railings witnesses our twin copies, and handled with utmost discretion by the auditors, of the variable process of creating a lyre

One that reannounces itself to us, the two readers from the beginning, at the Sun, Joseph and Maria das Dores; around Minas Gerais, of all places, the cattleyas for yellow nettle called furze, concluded Clarice Lispector, July to October, other solitaries, who would go the way of the cross (1974)—