VI. Toucher les panneaux de porte d’entrée

VI. Toucher les panneaux de porte d’entrée

Next to Bessy, just within the church door, there were the Poyser children, peeping around the corner of the pews to get a sight of the mysterious ceremony; Totty’s face was wearing an unusual air of anxiety at the idea of seeing cousin Dinah come back looking rather old, for in Totty’s experience no married people were young. – George Eliot’s Adam Bede (1859)

Moshe Safdie’s submission to the 1967 Montréal Expo, and a remark on this bit of soil, the truth of orange trees, resides in the plan’s unfolded hexaflexagon’s

Maximal terracing compared to Buckminster Fuller’s Biosphère subsumed later in less than a half hour in its acrylic skin (1976)—

Antoine de Saint-Exupéry swept the porthole’s Gulf of Roses into Figueres to Barcelona (1936) following the warpath of an Italian raid until the unsought-for glistening green roof scales

Of Casa Comalat (1908) approaching the Obelisc del Cinc d'Oros—What remains of his surviving presolar refractory lining of silicon carbide and marker graphite of the P-38 Lightning brought out of the bay (2000)

Of Le Corbusier’s Unité d’Habitation (1958) and Alsop & Stormer’s Le Grand Bleu (1993) receiving Sevilles once borne along the Silk Road, now from Algeria November to March; the sweet orange, strange even in pharaonic times, Madragana Ben Aloandro unskeins for her son, Martim (1254), and his mother is Maior Afonso, the Greater of the King, as she was christened from Algarve Mozarab, Sephardi, or Berber, the Reconquista refuses such a fate, with magpie sister, Urraca—Martim’s descendants will be of a minor princess of Mecklenburg-Strelitz (1744-1818)—All stressed

Along the grain of Adam Bede’s joinery, in the preferred wood of English bows, while out of the casement he looks for Dinah gathering instead of maritime autumn crocus, hellebores—A length of rail proposes the dare of Alex Colville’s

Horse and Train (1954)—The television set; though buried in paperbacks, behind which slants the tondo of Woman and Terrier (1963) exhibiting the same ferocity to strangers, stirs the childhood home of blackouts and rusted water with the timbre, devaluation, and rise of minted silver of Alex Colville’s

Drawings for the 1967 centennial—Taking the Going-to-the-Sun Road’s labyrinthine turns hand-planed the drive up to the Overlook Hotel, where a central eave fades into a ladder, and the guests into their valises—Framed by the Hidden Valley lumber mill, the impossible corridors readied for the carpet hexaflexagon’s

Reversed field for a rolling ball—Adam can make nothing of the faded map of England seated behind the Brimstone bricklayer, and the wool dyer, in whose indirubin hands; clawed from boiling water, coruscate a variable rouge and cerulean range anticipating colorfast blue anilines or International Klein (1960)—Arthur Donnithorne’s gift of a two-feet ruler might have stressed

Plotting with its parallel a course for blue water, after the sixth-rate HMS Dolphin hull sheathed in a copper skin (1764)—

That by the second global circumnavigation (1766) lead by Samuel Wallis, became separated from Philip Carteret on the HMS Swallow (1767); equipped with the iron dominated by Mars as a scaled

Compass and lead line not unlike the sextant’s graduated arc of 60 degrees from its circumference, at the Strait of Fernão de Magalhães, whose five lateen-sailed caravelas compelled patrons desirous of cloves by the disruption of the Dutch monopoly from the Maluku Islands, and later site of Wallace’s Ternate Essay (1858),  from Seville (15 August 1518)  to the Bay

Of Guanabara encountered in January, Rio de Janeiro (1502), with its buried twin-handled Roman amphorae (1982) containing unretrieved resins of coca and tobacco Kanem agents conveyed to the Akhmim of the mother of Akhenaten, Queen Tiye (1390 B.C.E. – 1353 B.C.E.), and the Dionysiaca of Nonnus—Carteret is swept to the Queen Charlotte Islands, whose Haida figure forests seemingly uprooted from the Altaic taiga, and Wallis, to Otaheite, King George III Island; their vessel compromised for the loss of nails carried off by its hands to the hosts of this impoverished male race—Cook had undertaken this certain latitude and longitude to observe the 3 June 1769 Transit of Venus, but found at the opposite of Matavai Bay

An outpost made venereal by the disembarking La Boudouse and L’Étoile from New Cythera—The settlement's prime mover is immortalized by Diderot’s five-chaptered Supplément (1772) and interview to the Voyage, the Strait, and most massive Solomon island; possibly more, by the botanist Commerçon as Bougainvillea—Alex Colville’s

Pacific (1967) faces the neritic zone from a reverse coastline, with a graduated desk enclosing the panorama, and a Browning service pistol not yet exchanged for one with a polymer jacket—Ships; scaled

To their displacement curve and deadweight, with an exterior network of windows the equivalent of an hedge maze regarding the nautical equilateral triangle of α Canis Minoris, Sirius, and α Orionis among other asterisms, three of which formally comprise creased hexaflexagons—

That sometimes make terribly evident by some flaw in their construction; passages initially as tranquil on St. Mary Lake in Kalispell—The exit conscience forestalls, at the opening credits, where the turquoise Helvetica (1957) outlines a calamity in the same make of Volkswagen, then loses hold of the sympathy that comprehends it, the forbearer, Univers (1954)—Supplied by an uppercase Q-tail it touches, rather than overpasses its rondel, the typeface of Adrian Frutiger, whose two daughters were lost to their own minds, removes any consolation of signing the Paris Métro and Dutch rail—Such questions, were overlooked by The Silence’s stressed

typewriter (1963), where hallway geometries devolve into an unnamed nation’s Bergama Holbein pattern in a hotel shuddered by tank surveillance, before the son set to reading Lermontov first enamored with a Circassian girl of nine (1825)—Curtains fasten the furniture tumbril’s sole witness to whipping the horse’s eyes—All before the melted glacier’s unruffled skin’s

Broken by an island’s needle-leaf obstruction, and varnished cut-log replica above the bed—There is a workspace where the bearskin

Has just forsaken its translator, whose absent father makes diminutive, with a poetic misprison of the divisive Tordesillas documents (7 June 1494)—Instead, the month and day of the wedding rediscovered centuries ahead pauses Cortés reaching the Bay

Of Campeche, Veracruz (22 April 1518), with cuttings taken from the Cuban stand of oranges staked by Bernal Díaz (1514)—As if contracted from a scene of long duration spaceflight, at the Templo Mayor (8 November 1518), Dona Mariña concedes unearthed fragments of the stone disc were of the dismembered Moon (1978); looking up to the warrior conceived in a ball of feathers, the Sun and Berylline hummingbird, before whom the liege of seventeen years bows before sixteen jennets of the Estremadura, and fitted them into his brain as gods—Shards, rather than skeletons, of distressed

Maya blue from a flooded cenote are made indelible by its clay fixative, unlike the cuprorivaite of Nebamun’s gardens (1350 B.C.E.) presented in salon (1815) stirring Sir Humphry Davy to the composition of their blue marshes emanating infra-red, as the partition plastered for a queen at KV 62— With surrounding bodies from Amarna, father Akhenaten, mother Kiya, and the perhaps the woman who estimated him more, explained through ambition as Europe’s first cross-bearing orb from the nefer’s communicating heart and windpipe, worn by its namesake, Neferneferuaten—She was an accomplished charioteer, who offered her best and third of her six daughters, and after their issue of two daughters with their spines exposed, heartened a marriage to the Hittite prince Zannanza (d. 1324 B.C.E.) from her grave—As they had curtailed the painted priesthood at Amarna, the king and queen priests of Aten recognized Hurrian superiority with horses from Kikkuli's text (1345 B.C.E.); sacrificing the Two Kingdoms’s refinement so often attending weakness, that such horsemen might abandon Tyrian argaman that soon as it is set, begins to fade—Surveying this city on a drained lake basin shadowing the Nahuatl glyph of Tlatelolco’s mounting Sun, now seized during a maize shortage, Cortés was perhaps too quick to intone Revelation’s black horse from Alex Colville's

Church and Horse (1964)—A sentinel defying anyone to enter this consecrated place; charging out of the adjacent cemetery with an imperceptible set of scales—

Extraction made with esteem that can be said for Queen Charlotte’s Strelitzia reginae detected at the Cape of Good Hope sometime before its incubation in the Kew Gardens Palace (1773), and its
split roots in greenhouses; conceivably, taken aboard the returning HMS Dolphin (20 May 1768), among Chambers’s ten-storied octagonal pagoda (1762) and Wood’s Temple of the Sun (1757) en route to the Physic Garden failing to yield a purgative for the perpetual stream of violet from his Majesty—Tahiti, just the contour of the 39A takeoff from the bulge at the same distance south of the equator as Hawaii is north, sits among the stills from a heartrending hexaflexagon

Of our history—A decade gaining on Thackeray’s The Luck of Barry Lyndon, Fraser’s Magazine for Town and Country (1830-1882) prints “Three Months in Weimar” (June 1855), as both fended off the judgment of an interfering moral expression befitting the style of a century with less time for cards, there remains a place in the social scheme for an albeit spiritual mastery of the reflexive three rows of ten of Senet, or Passing, as for the combinations of hexaflexagon—

The high vizier, Ay, and general, Horemheb (d.1292 B.C.E), neither of which bore the mark of divinity, close the XVIII Dynasty; razing the faces of Aten for thirty years, as it was then reopened with the Dutch excavation of the tomb of his two wives, as it so happened to coincide with Barry Lyndon (1975) filmed in decimated focal lengths (f/0.7) eliminating all depth of field—The young lord, who is disturbing the recital, clopping in shoes of the dispossessed, rides a tricycle through five dances performed by one agent, as the Fuji Musumè, suggested by the wisteria wallpaper of The Shining (1980)—Appearing in quodam crippling walks across the barren, then a birth, where Wyeth’s Christina (1948) has been taken in, and there, only presiding Cow and Moon (1963); spot-lit above the banisters, where the shade forms a cage for the bare-skinned,

Except for a bear costume imitative of two passante bears of Anhalt-Dessau, with the first recorded sky blue (1729) interiors of the Oranienbaum of Dessau-Wörlitz (1780s) repeating the Chinese pagoda, with the Glass-Bead Salon in St. Petersburg (1762), nevertheless, a familiar to his mother ascending the stairs—She met Jack Torrance at the parochial Stovington; its eagle mirrored from his breakfast tray, as Hetty Sorrel, the fallen woman, settled beside a white-and-liver spaniel on the wagon to Stoniton—Just such pet migrated from room to room with Lewes and Liszt deliberating Goethe as an alternative to the customary limbering scales (August 1854)—

Words of anger vacate us, with the seeming appropriateness of the Spanish troupe entertaining Johan as Philip IV’s only remaining child painted in the Alcázar (1656)—Of a child left to roam on the night of the full moon at Hall Farm and the nocturne’s ensuing nine months denoted by silence; dated the year of the ball, above the miniature of the maze, F.H. Varley’s Stormy Weather, Georgian Bay (1921)
After two wars, they pitch against the wind; after the last surviving of the Group of Seven, A.J. Casson, zigzagging the bearings of White Pine (1957)—Tudor mercantile and warmongering classes stressed

Confiscation of the monastic lands for oak forests, and when depleted, there were the colonial white pines the Deputy Surveyor marked for ship masts (1772)—Alex Colville’s

Children in a Tree (1975) exposes some of the tribal incapacities for Habitat 67, where Penderecki’s The Dream of Jacob (1974) intones his return to Bethel (35:1) at Taumim; the sign enjoined on the ecliptic, Gemini that is broken at the labor of Benjamin, and it is under the oak where he buries the things stolen by Simon and Levi—Lamenting for the sent away daughter by Dinah; some June evening nine years since, we find she marries the first son of Rachel at the logement of the beachhead, and Alex Colville,

Recording for the 3rd Canadian Division comprised of Quarrier orphans, sets Before Zero Hour (1945) to paper—From a hotel in Timoka, from transactions between the bathroom door, to accepting the actuality of Adrian at the meeting at the Po Delta as conventional as flex notation of ten equilateral triangles of the hexaflexagon—

Moshe Safdie’s submission for the Smithsonian (2009) transforms this parting of the Red Sea, with the bones of Joseph distinguished by a stress

Loaded ceiling, where participation as a finalist chartered the ArtScience Lotus of Singapore (2011) and the waterfall distributing light from the roof’s ingathering of rain—With the irritated skin

Found from one’s own assemblies, handling hellebores that strengthen cardiac tone first isolated from toad coatings, there are bufadienolides whose toxicity is countered by bilirubin, an antioxidant of the Bird-of-Paradise—Bringing the legitimate Martín Cortés de Zúñiga (b.1531) to Madrid; distant from the double suffering of certain and uncertain sorrow, or brought into differentiable scales

Cortés relives his encounter before an uninterested Hapsburg king, to eventually vanish in Seville (1547) apart from the last account of Marina (1551), of the dedication in his name to the sea of a peninsular bay

Of California, further up the division to Warner Brothers promoting the masques of Guy Fawkes, and the baying of dogs to the other side—Liszt then commented at breakfast of one upstart Hector Berlioz, a proficient flutist and budding critic, who could not define his compositions on a keyboard, and so began with Charles Millevoye, who reconsidered the Egyptian origins of the speculative, second-century Syriac Lucian of Samosata’s Vera Historia (150 C.E.)—From a Literary Prometheus, I fear my work is a camel […] limited to the bridle and purple housings—

Having crossed the Western Lands, a razzia marching on Nouadhibou with meteorites, beyond the Two Pillars, the Laurentian fan funneled into a bay at Alex Colville’s Study for After Swimming 1955, as one who risks drowning as a solitary Swimmer (1962); and, nevertheless, reenters, at last, together picnicking on the hatchback of Willow (2002)—Un-flexing the blue letter, a hexaflexagon, Scaled thirteen times before logjams at Schubert’s Piano Trio in E-Flat Major, Op. 100 (Second Movement) in a Georgian duel over horses; Handel at the first Christmas tree with the Acts of Union (1801), then one another, to Das Schwanengesang (2 October 1828) with Heine—

O you Doppelgänger! You pale comrade! The house Casson, the landlord, has left is an embodiment of imperfect bodies scaled thirteen times set in the stressed block chords, where the inheritor of Adam touches his own skin, of Rachel at the Canaanite extremity of Ursa Major (35:20), as he met her before at Alioth, sometimes Capella, as the charioteer, Auriga with two kids—