IX. Titre de l’herbe anneau

IX. Titre de l’herbe anneau

In life I think it can be a name of a person, not a place, which can give a sense to everything you find. – John Berger’s To the Wedding (1995)

Partial tilt-in sash of the first theater of the world, where Abraham Ibn Ezra (1098-1164 C.E) found the Moon

And Sun conjoined in writing on Nissan—For reasons defined by barley; bent back by hail, and this habit of being

First, within grasp of six obeloi of the occasional drachma for two-rowed barley of malting, for forming yeast rounds

Known affectionately to us as barolo levees—Notelet of “I” walking the decumano framed by the Porta Borsari (1144 C.E.), at last toward the holiest threshold of a house, or boat, with its sealed hull's monocoque

Of an egg—Sheathing the Piper PA-18 Super Cub, with its empty make and model recovered from L’Eclisse (1962)—Not mentioned for that tenth day of September (1961), of not meeting, but for its field in Boscomantico, where its enivrant

Grasses between orchards of the Fiume Adige; serpentine as Robert Desnos's path, whose receipt of an union card brought a passage to Cuba—So like a flower and a current of air (1926), Eric Ravilious

Had overdrawn the River Cuckmere (1939); remarkably similar to the ensuing Piedmontese outlet—Before Paul Nash’s entrenched new world, Eric Ravilious

Studied on the National Gallery postcard; before setting off for Borgo, toward how Piero charged his early panel with the vertical angles of John the Baptist’s limbs (1448-1450)—Near Restoro d’Arezzo’s cultivation of lunar maria by Cain’s harrowing, where his offering of thorns wended itself into Paradiso’s sphere of the Moon (II.49-51)—

Pulling the estuaries of Morecambe, at the Midland Hotel’s best imitation of the downwarped raised rims of carborundum and columns of crushed blue glass; Eric Ravilious and Tirzah Garwood inundated the pavilion in white-capped waves bearing their sargassum to the parterre d’eau of the patron tables (1933), with Eric Gill’s sculpted seahorses upon arrival of enivrant

Windsors—Wallis; having witnessed two plane crashes, insisted they sail with the stray stones they collected, which later endowed the Pasteur Institute—Being

That is both the Wilmington Giant (1939), or a figure between two supports, and the white chalk horse (1939); borne in the month of rain-stirred dreams and Orion, and lettered on Ravilious’s Wedgwood beaker (1937) as S-U-S—The perfect rounds

Of the horse (סוס) at canter, with 40 percent on the forehand and 60 percent on the hind, where its weight sits girthed by the consonant “W” reproduced in the Gill Sans fascia of Penguin Books (1935); followed by the Pelican (1937) and Puffin (1940) imprints, where it is read of Ettore Bugatti's RAILCAR monocoque (1933)

Gliding along hydraulic clutches and reversible gears, from the Le pur sang des automobiles (1924) advertised by a horse, whose longer, and finer cold-weather coat lathers and foals windswept legs of its tight confinement of eleven months that get up and walk after ratios of sixty breaths—Roux and Yersin tested van Behring’s antiserum on such locomotives (1890), and delivered us from Hugo’s sparrow hawk of the shadows, diphtheria (1877), whose absorption of hen tetanus antitoxin through porous monocoque

Of the egg, Klemperer (1893) found in the same concentrations of yolk livetin—Containing immunoglobin Y now adapted for viruses; the yod’s splatter, vav-hook through the doorway of creation—Signature 1, 1935 Eric Ravilious

Covered for Curwen Press, as Benzoni’s 1565 account of Columbus making an egg stand on its end, or Vasari’s origin of the Duomo of Santa Maria del Fiore, through a surround of chalazae, News Letter 6, within, a six-pointed star—After rounds,

They are received at the desk, within sight of a marquetry picture of camels with pyramids, and the wood finishes as scraped sepia of the Naqada ostrich egg’s fan of Fayoum up the Nile delta toward the Giza pyramids Firth dated centuries before their construction (1907)—Striving to remember all before her husband became lost in a Lockheed Hudson flying over Greenland (1942), Tirzah Garwood makes Trains and Horses (1944) and the twin lamplight of the 21st letters, shin, for their creation, after Rilke’s Sonnets to Orpheus, Part Two XII, where everything shines as it disappears (1922)—For their son, when she collaged the interior of Eric’s train compartment with the white horse of Uffington, and, as if signaled by the three, to give of herself, anyhow (1939)—Surest as Ravilious had made the flight school’s handling of a Tiger Moth (1942), she writes the commonest yellow-underwing asleep in the shadow of the curtain (1942); the Emperor transliterates as the Saturn peacock flying to the Moon’s

Height over the counterpane, where the sleepers awake—By the thirteenth sonnet, beside the Ahlbergs’s Each Peach Pear Plum (1979); reread for the hiding stories, and double in meaning, strewn around the enivrant

Barchino of our waking, the young catkins on the pulled willow for snow, with its root verb for peace, salutation, and valediction into the stream’s unreckoned horsepower; all this is a picture—Piovanelli, or dunlin, layover in the arboreo the D’Este partially drained for arborio rice, until then these predawn hours far from the ocean, the being

Overheard by a plover from its scrape nest; the sound it makes displaying its burnished back as a wound—What had intended to be a walk, is mistaken for a vagrancy, or an inconsistency of being
Produced by Jean Ferrero, the signalman, with iron-bound Zdena, whose samizdat Tsvetaeva weighs Pushkin’s equestrian statue against the girl speaker’s rupture of a doll, (1921)—Toward the monocoque

Of the greenhouses by the Venetians putting their sand and wrack to best use; the same quality reaching Antwerp in the 1550s and the conveyance is a comparable Duty Boat (1940) with an infinite cable up the River Scheldt beyond the former bridge in Tournai enivrant

Tanks had brought down (1918)—What is left unbidden is tzippora, the female bird, which had not been delivered that line in Deuteronomy (22:6-7), and could not be more thoughtful of its young in luring the hunter to herself—Of Hannah, or Anne, considered by Dürer (1519), where he visited the site in Düren not far from the cylinders the Zerkall-Buetten, whose mould-made paper impressed the limited woodcut of Eric Ravilious’s
Bird Boy Nesting (1927) returning the fallen clutch—Dürer’s Stork (1515) is chasidah, kindness, for those who raise their young on roofs, from which is heard the cries of a human child; fully-fledged, which feed their parents, and otherwise silent, by the clacks of their beaks, as political situations turn out to be most often oppressive in their rounds—
Using the head’s dopamine binding potential; the letter upon which all that is ennobling and unbecoming in the darkness of the human profile, to elucidate further applications of carborundum, the scourer of friezes, and semiconductor matched for the flagrant ground of Pisciarelli’s Aquae Tauri stabilizing the wide aerial band of the Lockheed Hudson’s first flight, 10 December 1938, from discharges of the Leyden jar of von Kleist (1745) and van Musschenbroek (1745) cohering in Branly’s radio-conductor (1890), and then from Marconi’s wireless telegraph across the Channel (29 March 1899)—Ten days that follow the New Moon

Emptying all that is said in the spell of Ninon, to penetrate the five souls on this day, with tenth consonant, quert, of the apple tree of Kandinsky’s Promenade (1902)—Alessandro Manzoni’s Renzo had seen stepping out of the Full Moon
Tavern (1628) along tortuous roads leading from the Milan cathedral with its octagon under the dome Pietro della Valle recognized in the Akkadian eight-pointed tesserae of Abraham’s Ur competing in his depiction of the standard Persian cat (1626)—The fourth-century Battistero, which could have been a makeshift sheep dipping pen, with new construction overhead by the consort of Beatrice, the youngest D’Este, Ludovico Sforza (1500-1508)—The betrothed; for the time being,
Flown from the Lombardy stricken by plague (1630)—Among them, Rudolf Steiner’s Kraljevec; then an Austrian dependency, into the woodblock linings of Manzoni’s 1820 readership for his seven rounds
Of Anthroposophy just one iteration conserved in A Farmhouse Bedroom (1930s) and The Bedstead (1939); so much debris rebuilt by its demolishers adapting plane production for monocoque
Housing—What is constant in the blackout of Kandinsky’s figurative period is an apple tree flanked by the couple, and shared knowledge of its star-pattern's invisible orchard, toward the five points of Villa Savoye (1929)—With the first reinforced concrete construction, béton Coignet, on then teeming 72 rue de Charles-Michels (1855) Le Corbusier used the bird at the end of his hand (1948)—Blaise Cendrars, writing from the Somme, the severed hand’s abstracted fourteen of remembered Orion, mounting the heavens (1915), and the divine Time, or Kairos, until it became the 28-meter Open Hand Monument, in Chandigarh (1964, 1972, 1985)—Resonant to the 2600-cycle tone connection of a phone call, the seeming enivrant
Slumping roof of Chapelle Notre-Dame-du-Haut (1954) composes two concrete membranes fitting together the thenar and proximal palmar, life and headlines—Inset on the facing wall, the 14 May 1955 window the maker signed, after recognizing himself in its face three times—The month of the mazal ox and Miriam’s well, Eric Ravilious

Made more radiant in black ink, Untitled (Sun and Moon over Hill) (1928), from the vantage of Dürer’s Alpine Landscape (1495) at nightfall, or a dark sunrise in the valleys taken on the journey to Venice—In the byre of Hull’s Mill, Eric Ravilious

Tucks Two Cows (1935) that would be recognizable to the Amsterdam Marranos from Lisbon as the alef, locking the infinite in its horns, but accepting its soundless company for its own—Had Lucas van Leyden had the opportunity to glance upon the master’s Last Supper (1510) with a crescent moon

In earthshine, where consciousness lies submerged in the outgoing cargoes of sole and hake to England (June 1521), and understood the wave-enivrant

Letter qof, of a consecrated thing, while held apart, qadesh, pariah—With no desire for the gold tubes stringing together the hammered leaves of the world in a Piadena display, nor the simultaneous contrast of Sonia Delaunay’s printed cotton georgette, Design 1293 (1912)—Understood, is the copper plate of The Milkmaid, with the cartogram whose date is one of the 72 names (1510); one and ten being

The same; Lucas van Leyden, who later tried the Calvinists; fomenting against gradual loss of the language, by placing the tetragram on the Last Judgment panel (1526-7), sat for his portrait, and thus supplemented the ream to Nürnberg with Katherina, the dairymaid (1521)—Rounding

The eighth month of Ziv, and perennially failing others's stained-glass pains, it will be marked instead on the elytra of a rose chafer, after the stag beetle, which contains in its metatibial spur an overhang of an ear, the “D” of his identifier (1505)—Interrupted now, by the whine of the flexible monocoque

Fuselage as the wheels touch down on Guglielmo Marconi airport, for the telegrapher who expired from a series of heart attacks (1937) following membership of Mussolini’s Gran Consiglio (1922)—Covered in the veritable dust bowl of Canaan, through the forced air of a plane mate monocoque docking with a shudder, the same for the misnomer for the twosome themselves spilling over with milk and honey more precious to us, since the bachelor Eric Ravilious

Dozed in The Attic Bedroom, Brick House, Great Bardfield (1931)—June’s itinerary allows for a few days for Juliet's House mortared in love letters, and being the waypoint toward Gorino Ferrarese, with only the intense, enivrant vines cordoned on the sand offering sea-breezes resistance—

That day, we inscribe in a compass the same significance as a pilgrimage noticing the full moon’s glimmer on the tin notice hung from our window frame, of the saintly eyes interred in a Venetian sestiere undamaged and unmoved by oxen that made way for a train station—