XVIII. Gribouiller le flot [quand la lumière de la pleine lune coulait]

XVIII. Gribouiller le flot [quand la lumière de la pleine lune coulait]

Perhaps writing finds a place that is uniquely its own on these walls too, when it refuses to be abused by arrogance and tyranny: a noise which you have to strain your ear carefully and patiently for until you can make out the rare, discreet sound of a word that is for a moment true. –Translations in English by M.L. McLaughlin, Collection of Sand, II. The Eye’s Ray: “The Written City: Inscriptions and Graffiti” by Italo Calvino (1980)

His back was a deep blue green—the color of the deep places of the sea that Scomber had not yet seen—and over the blue-green background irregular inky stripes ran from the back fin halfway down his flanks. –Rachel Carson’s Under the Sea-wind (1941, 1951)

They stopped once at a farmhouse to ask if they could buy enough gas to get to the next station. The house smelled like fresh cold cheese. Their steps sounded hollow and lonely on the solid brown planks of the floor, and Therese thought in a fervid burst of patriotism—America. –Patricia Highsmith’s Carol, or The Price of Salt (1953)

In the ninth month of dreams and the retail season, one can imagine the origin of being branded with one's claws, Griffes's

The Three-Tone Pictures (1919), courtesy of Yeats and Poe, played out at the Hotel Elysée, where Tennessee Williams's last thought was of Rose (25 February 1983)—The ascendant

Moon, from its coalesced ten Earth radii of dust incorporates elements aether to air that had been thrown up in the mountains of Purgatory Resort Durango-

La Plata, whose arid Colorado taken from an automobile is a twice-ventured river town of Spain then Mexico that stems from the Basque genesis for water

Now, serviced by its own airport—The Champion Hotel occurs a later stretch from the ten miles west of Denver’s iron rose and specularite natural amphitheater; the court as it was the final stage of the repeated serves to Humbert’s handicap, beyond early spring mountains with young-elephant

Lanugo along their spines (1955), above which capered painted ladies, or Vanessa species on July umbels of A. archangelica; the Linnaean disciple, Johan Christian Fabricius dedicated to Phanes, the co-creator of birds, whose shirred scion; as it befits the buffet tête-à-tête between toast soldiers, is the Orphic Egg, and not the shield of the Emperor, whose seat of command proves otherwise unusable against the Siq’s rocks dropped above, in a space tourist-packed as the Petra sand bazaar's bottle with a camel—

From a second-hand purveyor consequential to the 1938 WPA Guide to New Orleans; its 1983 hardcover clutched for its jester and unspecified side-by-side watering holes on Bourbon Street bordered by freshly painted pastel shotgun doubles, or camelbacks—

As the apparition of a stage set, a house interior with more depth than breadth, in the manner of the Alexandre Benois family apartment (1911); which perusal of the Forbes collection; assorted to refurbish a crackling Madonna enthroned, whose standing child in the round could also be read as a decumbiture, yields an iron-bearing Milori blue that oxidizes over time, or the laundry potash of ultramarine, before conceding to the blue anilines of Petrushka’s room—The ballet’s prior two lackluster performances, which were improvised by the Lewinsohn sisters on Grand with accompanist Charles Tomlinson Griffes (1916)

Harkened that night, when Nijinsky appeared—To Stravinsky’s disarming triads imitative of birdsong, the transported folk tale; here, we unfold a string of Christmas angels from a book and a brace against such ugliness, with a kalpak, or possibly a Jewish hat, popularized by the costume witch or dunce, touted by yeomen cowering under white bed-linen, who left their smoke signals Sioux City to Waterloo, Lou Henry Hoover’s hometown—Shantih, enunciated into the right ear of the elephant-headed

One, before whom obstacles descend into the tiptoed five phalanges of its pillar legs in whose

prints one can discern its build—Tectonic boundaries, whose gyratory serpentinization; recited by heart by the seine-haul mackerel aged by their rings of otoliths, contains ammoniated phyllosilicates of Ceres—The ascendant

Probe Dawn resolving 35 meters per pixel (December 2015) detected their sublimation prior to the impression of a colony founded on basaltic maria, or paisaje lunar of Méxiquillo, Durango—

Megasthenes (320 B.C.E.), following trade routes to Mathura, the birthplace of Krishna; imparting a face to the darkening Moon, beheld the uninterrupted niches of Castor and Pollux at Al-Khaznah already  having washed his hands in the protected gouge reclaimed under an exposed bulb and surrounding pallets of bottled water 

Of Ain Musa—Seated one block up from the Museum of Modern Art, where, at 37 years old, Charles Burchfield has his solo exhibition (1930); taken in by an artist nine years his junior, Edward Hopper, who thereafter touched every eave and bannister with touches of meadow weld not unlike the Lionel train's run of displayed Dutch windmill and view of the Ohio’s moiré water

Contaminated with insoluble pesticides—Grievances that were first excerpted in The New Yorker fell against Müller’s Nobel Prize (1948), of a contact poison, the agent of fetal endocrine disruption and Rachel Carson’s manner of death, breast cancer (1964)—Few accessions of Detroit have endured, barring Let Me Show You What I Saw: American Views on City and Country 1912-1963 (2013), and a few warm thoughts before this elastic net of the mirror’s assimilation of its opposite; much that reflected in red, as the blown chimney of a Nantucket whale drawn in by its lungs and its oil refined by its flensed surface—Starlit Woods (1917), where watercolorist’s sable is actually camel,

Straining the steam of the teapot for auroras, of Sagittarius tracking along the Galactic Center to Antares, blued both by the occultation of the Moon and by its companion star surrounded in initialed branches, or that prospect struck before the Drake Hotel lobby’s central flume and marbled veneer, where the bellhop offers Churchill revived himself with a rye; simulated in place of Peace at Christmas (1917/1947)—Durango’s

Animas, or River of Lost Souls an abandoned mine stained ocher after some compliance official had blown her nose, among other such sites that span migration lanes to Astoria, Oregon; with infrequent bends worthy of the mentioning the epigraph of Fantasy Pieces Op. 6 (1915), Verlaine, with Stravinsky, Où le vent pleure ... / Rêvons, c'est l'heure  (1910)—Had Griffes

Occasion to visit the municipal baths docking in the East River, or was he curbed to the prep school beach outings, to remerge beyond the shelf half dead with pain and exhaustion, but freed from the grip of the dead ctenophore; at that moment, a swimmer is an elephant

Trouncing onto shore, with the shiver just as the recollected schoolmaster, Wittgenstein, who has struck Haidbauer at the chalkboard (1926)—MS 175 was composed at Cambridge’s Storey’s end; marking cancer’s deliberate progression into his marrow, its author faces the situation of being kept from visual discernment, as the fountain’s ascendant,   

Suddenly liberated Quaternary water that, is the essence of Remarks on Color (1950)—In ascendant

Life, and taking in, from XVIII. Vagabonds (1886); the first assemblage that withstood a young reader, the biscuit of the road, which is the cotton-in-culture, umbrageous Histoplasma endemic to the Mississippi River Valley—With the detective in pursuit along the rent-occupied frontier at the convergence of three states, Cairo, Illinois, whose ferry water

Interstate bridges had stilled—Counting the Empress chili signs to Cincinnati with like-minded countertops of GDR West Germany plastic cornucopias; to the indented tessel of Edward Hopper’s Tables for Ladies (1930), the hosts gathered to receive our succession of stops—Someone putting down an illustrated Chapman & Hall morocco from the 1868-1870 46-volume Household edition, which contains Bleak House (1852-3), is told the ancestral home is situated near Verulamium, St. Albans, where Matthew of Paris drafted for illumination the Tower of London’s elephant (1255)—

Unrecognizable to ourselves, we were twinkling of dictated but not read words in the disregarded harbor of our hired quarters—To express under tempered new moonlight (Capricorn) and polyester coverlet; the latter whose attendance at the ritual is abandonment on the floorboards, for an association of the seven paths accompanying the only other diner’s blazer, too common to us, seen from the rear window—Of the seeming material, as the sailor on the decade-long Longa Viagem (1418-1428) Dom Pedro d'Alfaroubeira’s celebrated of four camels,

Le Dromadaire, wood plate 10 of Raoul Dufy’s Le Bestiaire ou Cortège d'Orphée (1911)—With monasticism’s preserve of ingenuity; abiding on Kepler's Mysterium Cosmographicum (1596), which is in keeping the sphere of Saturn as a cube, we catechize the travelogue of the 13th century Le Serpent Rouge: Notes sur Saint-Germain-des-Prés et Saint Sulpice de Paris locating sixty-four stones on the chessboard of Europe—Stecchini synthesized from the Egyptian's prime meridian (1971), with Durango

At A5—For your mind at this move, realizing the extent of this allusion, a poem for flute, Charles Griffes’s

The White Peacock (1915-1919), for the sixth stage's cauda pavonis, after Prospero made the storm surge, played on the sea like dark green silk, at the wedding of Miranda (1611), after Matisse’s arresting Open Window at Collioure (1914), framed in the Debussyan Griffes

Blues scale—Hexatonics heard from Impressionist oils seeping at the peripheries; for the if then uncertain, latent view prepared by an English Romantic under the guise of a woman, Fiona McLeod, and sleepwaved under the prow, our Lovers are conveyed beyond the oiling of firearms, to the snow mists of rose, a sky above rigid forms through cherry tree branches, from the ascendant

News since Robert Goddard's liquid-fuel rocket (1926) and Shanti Devi's rebirth (11 December 1926)—Confirmation of aerosolized biota at its Southern pole (14 July 2005) predated by creatures resembling Luigi Serafini’s para-phalaropes (1981) kept aloft by cymatics—The horse will take us to Durango

From Tagore’s Kabir LXXII […] in the seam of the mantle of his heart (1915)—Maier’s XII. Subtle Allegory (1617) presents the four elements assigned continents, where he crosses within himself, the Erythrean Sea’s salt water 

Inflamed, from Trichodesmium, sea sawdust, and the crystalline matrix separating on the resonant Hertz tabletop—Where the blood began to beat, although, composed as the perfect pillar on Cosimo Rosselli’s (Biagio d'Antonio's) South wall of the Sistine Chapel (1481-2)—Over Arabia's buckram dunes expanded in classification to include Mars, he passes the Nile’s ray-finned, electroreceptive elephant

Fish, as if their bodies were of some materials which put together inevitably created desire—The morning before meeting's broken milk bottle in the sink, and the Moon having Cancer for the roof of its house finding Mercury, we cannot leave Earth—South Truro’s Camel’s

Hump (1931) Rachel Carson rambled in her pauses from listening for croaking Cynoscion being caught at Wood’s Hole—The enduring cedar shakes of Cape Cod have the look of burnt timber that reseals in the rebutted natural kiln of the interior and outer principles of ocean salt and air, with strewn sulfur against the rust that overwinters on red junipers; galls that became the salvation of the camel,

Whose eight times the human tolerance to brackish water focuses mouthfuls—Acute implications, as we repair through the drizzling 160-meter slot canyon of Petra with Jacopo, the Steiff monkey in the saddle rug—Without nullifying the wonder of lake water lapping with low sounds (1888) Charles Tomlinson Griffes

Prepared (1910), which meant considering wartime’s combed paper cord, whose streaming loom is nevertheless knotted by hand, for bears, and made behind the glass curtain at Giengen, whose manufacturing works awaited the International style (1911)—From a recollected train compartment; the domain of Hopper, and for the letters to physically deliver their promises from Les Rendez-vous d’Anna (1978), we spoke of them after studying the vintage showcased fauna, the ones in their tatter given the most expression, while apart from the floor to ceiling stock of Steiff at Galeria Kaufhof Cologne; to pine for vanishing department stores, particularly the one launched from the pincushion pattern for a felt elephant (8 December 1879)—Ascendant

Trees and their set logs; for the 24 hours, your direction presently returns to the rammed earth of Bruder Klaus Kapelle (2008), with its scorched concrete lit by a pyramid of a door—Fluted walls that were pricked with still glistening spyholes, and as we stood on the hand-ladled base ground, deferring to tongue detained until then by faith, where a natural opiate transpired, at a smallholding outside Mechernich scored with lead pits, as Gold King Mine, Durango—

Entrancement felt then as a sea creature shattered against the gunwales, for at last, a clearing of conceit within the cavity of whale, and the Ptolemaic child n(w)n, whose meaning is inseparable from the fish in water, beyond a pyramid without a capstone, where rainwater

Filters down the spectral camel humps of Autumn to Winter, 1964-1966, where its maker writes in November 1963, the longest we have ever gone without a killing frost, in concert with the one of six of Haydn’s Paris Symphonies, No. 82 “The Bear” (1786)—An irrepressibly good-natured, if imbalanced being as to drop to water

On its claws—The moonlit charges elephant tusks, that they all may never become separated from their noble proportions, as they are inscribed—Zumthor’s chapel contains a four-turn released clamp or a tropical wheel, for its constellation, Bharani, the Bearing Star, and then hidden behind the Moon phase ascendant in July—From Anuradha, the decorated gate of the woods bearing flowers through our flesh, as on Lucian of Samosata’s island of Dionysus, where we who happen to drink become knotted there, in the spirit of a mountain temple, Mithuna—

Alight, like banded mackerel schooling five fathoms down, the tesserae of circumambulated pleasure domes of Griffes become known, if by their ley lines, El Silencio, from paused radio transmissions, as we embrace as we were driving among Coahuila and Chihuahua where they ultimately coincide at Durango, drawn as we were from the pull of their three satellites—