A transparent city never ceases to flow within the compact thickness of stones and cement, a fine filigree of water swathes the walls and streets. –Tim Park’s translation (1995) of Italo Calvino’s “The Call of the Water”, written as a forward to Vittorio Gobbi and Sergio Torresella’s Aqueducts Past and Present (1978)
The armour of noise stretched out across the Earth's crust: the cortex which circumscribes your surface lives, with its antennas bristling under on the roofs, turning to sound the waves that travel unseen and unheard through space, with its radios stuck to your ears […] –Tim Park’s translation (1995) of Italo Calvino’s “The Other Eurydice” (September-October 1980)
How strange it is, after you’ve spent some forty years alongside your own
mother, after you’ve butted heads with her on all manner of questions but most
often and most violently on the inertia, the grayness, the deadly smallness of
her existence, which, no doubt wrongly, you thought darkened and depersonalized
your own, how strange it is that this woman you can no longer bear to know so
well should suddenly metamorphose on her own into a green woman […] –Jordan Stump’s translation (2014) of Marie
NDiaye’s Autoportrait en Vert (2005)
The seventh anniversary (29 April 2012) of the first intention and seventh day’s splitting of the sea (VII.5776)—
Rifling the holodeck onto Karakoram ice sails, where a free line has set off like an arrow (27 July 1975)—
Frost whipped from the sun-warmed conglomerates of Paris Left Bank sediments stratifying the Eocene, (41.3-47.8 Mya), in whose cosmopolitan origin it is known as Lutetian—Melt rate differentials
On flat tongues, where local terminal moraines had dropped their seeds in estuarine gypsum and lignite considered from underneath the unchanged Campanian volcanic arc, Paris and Volta River Basins—Pocketing his handset, Little Bear takes the uncommon payphone of ITC Century Book (2000) “T” of Deutsche Telekom to reach Edith on her birthday (2016)—Engaged on her mobile,
She leads a cordon of girls under the mosaic signatures of the Cluny-La Sorbonne métro, absent from his meander from the Darmstadt of Hermann Zapf (d.2015)—
Merck, twelve synthetic elements and Hundertwasser’s Waldspirale (1998-2000), then onto Frankfurt, Cologne, Mettmann-Neanderthal toward Dunkerque, where the two arranged to meet in Barcelona, with Zapf
The seventh anniversary (29 April 2012) of the first intention and seventh day’s splitting of the sea (VII.5776)—
Rifling the holodeck onto Karakoram ice sails, where a free line has set off like an arrow (27 July 1975)—
Frost whipped from the sun-warmed conglomerates of Paris Left Bank sediments stratifying the Eocene, (41.3-47.8 Mya), in whose cosmopolitan origin it is known as Lutetian—Melt rate differentials
On flat tongues, where local terminal moraines had dropped their seeds in estuarine gypsum and lignite considered from underneath the unchanged Campanian volcanic arc, Paris and Volta River Basins—Pocketing his handset, Little Bear takes the uncommon payphone of ITC Century Book (2000) “T” of Deutsche Telekom to reach Edith on her birthday (2016)—Engaged on her mobile,
She leads a cordon of girls under the mosaic signatures of the Cluny-La Sorbonne métro, absent from his meander from the Darmstadt of Hermann Zapf (d.2015)—
Merck, twelve synthetic elements and Hundertwasser’s Waldspirale (1998-2000), then onto Frankfurt, Cologne, Mettmann-Neanderthal toward Dunkerque, where the two arranged to meet in Barcelona, with Zapf
Catalán digital extensions, Arrel’s Barcelona box covers in Palatino (1950)—Unseen until August, at
such latitudes, although it bears mentioning the constellation of that phase of
the Moon (Pisces) containing M74 (1780), a spiral galaxy found by Méchain
before triangulating (1792) for seven years southward at the quarter meridian, la dix-millionième, North Pole to the
Equator by one-ninth arc from Dunkerque to Barcelona, within the meter's
platinum alloy standard with an intrinsic error deviating from Jacques Cassini’s
landmarks from the last fifty years, at last, to Castell de Montjuïc
overlooking the sea (16 March 1794)—
Edith screens the stream from the fortress founded on Corpus Christi (7
June 1640)—Down to the Visigoth’s Barcelona (415 C.E) four angles off the
main cut of their rune, rebirthing Bear-khan-awn, Berkano, generating a slight
jar of the lift’s bullwheel over the mobile
Synchronization—Suspended nine nights and days, and assumed halfway to
the Zapf Dingbat (1978) non-letters of the late Egyptians, whose subsequent
crises yield imploring hieratic papyri, stelae, funeral linen—Having fallen
into the hands of their enemies; the insuperable kopesh and composite bow bent
into crescents against a barrage of invading arrows—
Evading Nadja (1928) and the
impulse of an universal hieroglyphics—Enclosure of the Tuileries Grande Galerie
(1564) coinciding with the Little Ice Age of Bruegel’s panels (1564-65), when
barley molded, such were the January Rhine bathers and Thames malaria, among
unrecorded instances of the inundated Valley of the Kings—The Museu Egipci's
green-faced coffin lid carved from a single beam that would follow the end of
the Middle Kingdom to the New Neb-Senu; a scribe twisted further to display his appeal
of bread, beer, and beer for Osiris (1800 B.C.E), and its mystery ended by the
differential
Friction of serpentine on Manchester gallery glass—Onto the modern mixed-used
towers of Frankfurt, and toward the apprenticed D. Stempel, AG, and Linotype
GmbH foundries of the plentiful, in some expanses, only meteoritic, iron tamped
into alphabets before phototypesetting and Unicode; characters of the pulses of
floodwater in sluices; canalization, as it was, never a Dynastic realization,
is raised by shaduf full for basin
Irrigation—Out of the visit’s aimlessness appear details of disbelieving
taxi-driven in the Frankfurt am Main of Fraktur (1538)—A font characterized by Hieronymus
Andreä, Formschneider (d.1556) of the late single-leaf woodcuts made for
Dürer—City of Goethe (b. 1749); whose fervent admirer Turgenev suffered the torment
of being thought merely his stylist, penned for the Parisian reader from nearby
Bad Soden The Torrents of Spring
(1870-1)—Intermixing tendencies, of Second Empire garnet intaglios, of Caesar
and Brutus, after the Augustan renovations to the Senate portico, the same
revolutionary nostalgia that transformed Pompey’s Curia; Cassius Dio had written
(211-233 C.E.) in the Greek of the Emperor's last words, into an open-air
toilet (XLVII.19.1)—Little Bear, staving off anomic crises with the spiral,
disrupts the tour for the forsaken fitted cross recollected regarding the
Hundertwasserhaus (2000) of earthen rooftops and wythes of tessellated
tributaries—Generous gardens; here, even breaking into enlightened
commerce, of the ECB vertical
crosshatched foliage (2015), once prohibitive on the West Bank at Thebes—By
then, achieved in their limestone reliefs, for the mud coping down the Duad
brooding almandine and pyrope in the Aswan basin—
Between missives, the first typeface (1951) that speaks is Diotima (440 B.C.E), tutor of Socrates; in
view of the Russian fleet in Hölderlin’s Hyperion,
or The Hermit in Greece (1797, 1799),
and it is in D. Stempel’s calligraphic reproduction with the Platonic ascent of
Gudrun Zapf
von Hesse’s Nofret (1984)—For
the texts that animate the identically sanguine highest priest of Heliopolis,
Ra-hotep and his waterier consort (2590 B.C.E.?) housed in the Cairo
Museum—Hundertwasser’s vegetated roofs culminate plans undertaken without
commissions, given the projected eyesores—Following a gravel path of perennial
sea
Thrift thriving in France; as its alpine cousin; he thought entering the conveniences, and another Flachspüler against the affront of backsplash—Crouching; as if in prayer, Little Bear considers the prerogatives of her position; Edith being much too deliberate to be profane—Her impassive face as he recites an announcement of antibiotics against resistant mobile
Genetic elements replicating in effluent of the third world; lacking these porcelain and chrome settings, this disavowal—Upon his reaching Düsseldorf on 15 May, Edith notes the devotees, on the day taken from Hellenized Jews, pentekoste hemera, on which the Marian veil traverses three days from 6 Parvis Notre-Dame Place Jean-Paul II to where its reliquary is housed, in another exposed vault’s arries achieving the arêtes of pared glaciers, at 16 Cloître Notre-Dame de Chartres—The latter, whose West right lancet window features the genealogy without Ruth, the pagan gleaner, while centered is her great-grandson David—Pleased, that on her Solar return, on which poet shares her birthday, 3 May, Pierre Emmanuel’s Tombeau d’Orphée (mai 1941) is being, who, like a bird, is only apassing / arrow
Thrift thriving in France; as its alpine cousin; he thought entering the conveniences, and another Flachspüler against the affront of backsplash—Crouching; as if in prayer, Little Bear considers the prerogatives of her position; Edith being much too deliberate to be profane—Her impassive face as he recites an announcement of antibiotics against resistant mobile
Genetic elements replicating in effluent of the third world; lacking these porcelain and chrome settings, this disavowal—Upon his reaching Düsseldorf on 15 May, Edith notes the devotees, on the day taken from Hellenized Jews, pentekoste hemera, on which the Marian veil traverses three days from 6 Parvis Notre-Dame Place Jean-Paul II to where its reliquary is housed, in another exposed vault’s arries achieving the arêtes of pared glaciers, at 16 Cloître Notre-Dame de Chartres—The latter, whose West right lancet window features the genealogy without Ruth, the pagan gleaner, while centered is her great-grandson David—Pleased, that on her Solar return, on which poet shares her birthday, 3 May, Pierre Emmanuel’s Tombeau d’Orphée (mai 1941) is being, who, like a bird, is only apassing / arrow
and the immutable blue of the sky
(lines 79-80)—His, is taking various S-bahn infiltrations into the German city
of cartwheels following equal height wayfinding arrows
For the origin of electronic music, by its originators’s seventh album
(1978); rather, its single’s music video complete with Suprematist riffs, in
which Kraftwerk exclaimed in vocoded Russian that they were, in that Czech loanword for slaves, robots—Little Bear’s errand affords scanning specialty
stores for that Adam Bernhard Bergrath anchor crock of medium-hot mustard from
a Van Gogh still life (1884)—Its predecessor on the Rhine, bearing the brunt of
Operation Millennium (30-31 May 1942) surrounding portions of the sloped to one
degree Eifel aqueduct conveying hard water to the finale of bronze taps (80
C.E.) of northernmost Colonia Claudia
Ara Agrippinensium, on the seismically active Cologne basin—
Le Musée l’Homme de Néandertal, of course, would not be a stopover; then,
the just-missed season’s anamorphic Louvre pyramid as a phenomenon coincident with the advancement of personal mobile
Platforms—Strangers respond to slightly put queries and the specificity
of his requests; besides, why the regression to Barcelona than a Parisian
reunion—Further into Germania Inferior, departing from the city for the wife of
Claudius, Agrippina, who was born there, in addition to the Media Harbor’s
potter’s wheel loop-turnings Gehry encased in metal, plaster, and brick peels
(1999); along this passage, rare for being without a periodical, or a digitized
Westcar papyrus recording, along the slip of earth overtaken for the volume beneath—The last thirty
minutes of the day’s admission to the Zamp-Kelp, Krauss and Arno Brandlhuber-grounded
dirigible and concrete helix, and particular in Land der Ideen (2006), at Mettmann (1994-1996), Little Bear postponed
for a taxidermied mammoth and a probable face to the sloping forehead and
mistaken bowed epiphyses for a bear’s—Thinking back to the Eifel conduit’s
metal-rich water scale blocks reshaped in Northern cathedrals calcareous sinter
columns; in as much as feather-weight human creators will copy the patently
pink methane-ice water massifs of Pluto, climbed to study the five plus moons
in blue halation—Elapsed, is Guerlain’s ITC
Bodoni, whose printer likewise extended the readership of the Arabic,
Cyrillic and Hebrew alphabets (1764), but with hairlines and serif punches
wrecked after a few unartful pressings—After Giambattista Palatino’s
citizenship (1538) nightwalking became the means to rest his eyes from cutting
type, in and around the Forum to the early phases of the Piazza del Campidoglio’s ascending Cordonata
among the anticipated plinths of the Dioscuri with Pope Paul III’s arms—Undertaken
with proceeds from the launch of prosperity stamps, the master calligrapher
studies Santa Croce’s letter forms; finding the best on the floor, beyond Marconi
and later, Fermi’s mention, Zapf (1950)
Conceives the sans-serif, splayed “M” and slightly rounded bases of the
“W” of Palatino (1948-50), which are the cultivations, with “J” and “Q”,
preoccupying Little Bear the most, on two thousand lire notes, a sum then sufficiently
dear to be imperative—A typeface against the International style with subtle
calligraphic differentials,
Optima (1955), a negative exposed on a turfed black granite memorial (1982)—Scorpionic
Mars, at opposition (21 May 2016), where Edith is rambling the hedges adjoining
the Meudon 83-centimeter refracting telescope testing the notion of Martian canali (1909), as it reaches the Summer
Triangle; consistent with the upper latitudes late autumn, the Pleiades (M54)
are distinguished by the Neander man—One never to be found without flint or an
iron-gall suspension for vellum, and not ingenuously, this highlighting on preserved
cave walls, therein lie the asterisms to be understood through materials at Gibraltar, Zafarraya, Guattari, and Shanidar—Lesbos, at start of the year when
the Pleiades set in fragments of Sappho’s Midnight
Poem (530 B.C.E.?) recovered from
the nineteenth nome midden with Euclid’s Elements
(300 B.C.E.), Oxyrrhynkhoupolis, after the bronze fish sacred to Osiris at the
Manchester Museum; retained in permanent display with the commander of the Aegean Islands, praying
to Great Green of the Pelusiac Nile, the kneeling quartzite Psamtek with Bastet
in-between; the succeeding Ptolemies reconciled as the sister of Horus, Apollo,
thence Artemis, from the 26th Dynasty accommodation of the Sea
Peoples—Egyptian sailors within earshot of the port Minoans catch αρκτος, arktos that came further down the peninsula for the northerly direction, which means a general direction of the Two Lands’s afterlife, and this unseen creature, a bear—151 meters above sea
Peoples—Egyptian sailors within earshot of the port Minoans catch αρκτος, arktos that came further down the peninsula for the northerly direction, which means a general direction of the Two Lands’s afterlife, and this unseen creature, a bear—151 meters above sea
Level, La salle des fistuleuses
of Bruniquel (2016) is, upon entering with the magazine’s detachment, a meeting
disc of broken and seared stalagmites, with the ongoing determination of the
activity there—Named fistulas; to the trained moribund, medical disposition
signifying between two epithelized openings,of impediment, perhaps reunion, in
a cavity—Forces that made Indo-Europeans, with Indo-Aryan migrations preceding
with the war chariot (1800 B.C.E.), with Vedic Sanskrit—Conveying both, with
the Hyksos to Egypt (1600 B.C.E.)—Shiva as Rudra, and his meeting as Sarva,
from sarnu, arrow
Mangal, who follows the release of Mars with its metals—Dingbat (1978) bullets for presentations
and the early millennium’s insidious habit of presenting what is written;
thereby printed, for differential
Reexamination—The parallel engaged under Léon Spilliaert’s Moonlight and Night (1909), who
illustrated Maeterlinck’s Serres chaudes
(1918), taken in from a sooted train window, and the modern sensibility
reworked in a monumental red scaffold of the concrete liquefied natural gas
terminal docking from Dunkerque’s La Bassin
Du Commerce to Ostend Airport (OST) to Paris Orly (ORY) Terminal
Ouest–Pulling up Braque’s studies of billiard tables, Edith is all the while
intimating on her mobile
From another time concerning the composition of La Vie des abeilles (1901)—From Paris, their observer seated at a
green table with honey dishes enticing from them their flower stalls—Met with
the unconscious sting of Zapfino
(1998)
Letter “Z” emphasizing the Zeta Ursae Majoris, Mizar, naked-eye companion of Alcor, for the horse and rider, the Vashishtha and Arundhati present at each wedding, of the yoke of life between Adam’s nail and Eve’s nourishing sword, zayin, and their divided time for 49 days—Gudrun Zapf’s
Smaragd (1953) showcases the
Baroque lettering of the original Emerald Tablets; translated by Newton (1680
C.E., Keynes MS 28) in order to conspire in Jung’s dreams for his seven sermons
(1916)—Of which the molten sea’s
Reversibly fluxed core-mantle’s iron constituent as blood and seven times
the volume of the Moon that drives the mobile
Geodynamo—Silicate side vents form windows out of the throat the paved
villa of father-in-law of Julius Caesar leaving carbonized bundles of the Herculaneum
papyri (79 C.E.) discovered by the Karl Weber (1750-1764) flicker with metallic
ink—Interring the fresco of Chiron educating Achilles on his lyre suspecting
the generativity of his arrow
Wound—Spoken by James Merrill (8 April 1974) to Richard Howard,
Maeterlinck’s translator, as Boyle’s self-flowing carboy coheres at the
return—Within a plot beside a swimming pool, Chloris encounters Eurydice; they
read on the tense oasis of green felt
a triune of past, present, future with winged differentials
Ricardo Bofill, of Taller de Arquitectura; taking Le Corbusier’s scope,
to define and defy his own dimensions, the best being his own, where the
rainwater-stained brutalist cement affords umber for the shadows within the
converted silos of books and plants—At last, their pleasure at the odds
notwithstanding a protracted route down their respective bends of the Rhine and
Seine basins
Over the Pyrenees; together, within drawn blinds blocks from Plaça Catalunya,
and its branches of chains—Edith seizes Little Bear with a Zapf interrobang
mirror-written in rouge extrait de gloss—That he means to say that the façades
they have just constructed, to include transported phosphorus of Sahel basin
fish bones to Amazonia, are, to follow Ortega y Gasset (1925), of no transcending consequence—
Improvising in the undertow of mobile belts of earth, they sustain the
Moon's foundation, with the Sun touching off the Transfermium wars (1979) shown
by inside and outside vortices of the ecliptic and the arrow
Drawn through the nodes at eclipses—Representing all that can be known,
with the differentials of their selves of treading sideways in the ancient wake
of Martian tsunamis, the wind waves in the deep sea that were wave speed
proportional to wavelength—
