You won’t see your reflection in a rapidly flowing stream. –Michael Hofmann’s translation (2014) of Peter Stamm’s Nacht ist der Tag (2013)
Into 182 pages, the intrusive narrator reconnoiters the four corners after a loss of face (2013)—
As Gillian, the feminine Iulius, emerges from bed beside Matthias, with
neither the strut of an actress,
Nor the septal cartilage taken from between her ribs—She defers to a
moment this year, on the seventh Kalends of the four emperors (July 69 C.E.),
when Vespasian is recalled by the Senate from subduing a revolt in Judea,
where, a year later, his son, Titus surrounds the City with four legions (July
70 C.E.)—The wall’s avalanche that is a Romansh
Loanword yields two weeks further into the siege of partitions retained
since the breach by the Babylonians on the seventeenth
Of fourth month, Tammuz—Opening from Poussin’s first Roman commission
(1625-6 C.E.), the scene from the Arc de Triomphe archetype along the Via Sacra
the ascribed Vatican travelogue Mirabilia refers to the Arch
of the Seven Lamps (1140 C.E.)—Paul Celan, vacationing in Engadin (July 1959
C.E.) with his wife and son, imitates a prose of years beyond the last where the slate pencil skips […] the surface un-written (1946
C.E.) on Lake Sils
Between its Sun and blue trout—Seven of Messier’s gaseous nebulae; of the
four evading his sweeps of Capricorn July through October 1764, contain
potential and thereto unstaged twelve pointillist panels of Sentiero Segantini
Maloja—Downswept to Sils
Maria tenanted by Nietzsche for seven summers (1881, 1883-8)—Condensing
the three-hour drive to the moments of arc when 9 Sagittarii, Messier 8 (23 May 1764), the Lagoon nebula in Agnes Clerke’s qualification (1890), drafts from
the teapot at an apparent magnitude larger than the Full Moon—The turbinal’s
differentiation from other bones; in how to form calcium phosphate cement with
the indispensable voids to resculpt cancellous tissue, after Ghosts (1881),
which was written seven years before Miss Julie (1888), whose
heroine hesitates over the scored ampules to guard her son from the most
apparent sign of syphilis, the sequelae of saddle nose, often mistaken in the
case of Tycho Brahe’s dueler’s graze (1566), and returned by Gaspare
Tagliacozzi’s method (1597), with an upper arm flap to the face—
A concealed good, nine, summed with eight, the window of life, before
Kieślowski’s aperture as a telescope (1988)—Before the dimensions of Magda’s
studio, and contradiction of Ernst Bloch’s anticipatory consciousness, the Chet
ha’Egel, Poussin’s Dance of the Golden Calf (1633-4)
with Israel the bridegroom, regarding the sovereign mirror globe and mobile of
the spheres staged as a moon calendar, at each seventeenth
Minute, a broken expectancy of her return—Red telephone, blue wrap still
lives of what one can gather from the four-minute featurette with each defect
amplified by its pendulum-passing actress—
Trivalent manganese coordinates the chessboard of yttrium and indium
oxides into a marketable new blue chromophore (2009) lain against the spectral
narrowband filtered red sulfur wavelength (672 nm)—To turn into feeling right away, in the Romansh
Sgrattaneblas, from German Wolkenkratzer, when George Stubbs commemorated Skyscraper for
winning the Epsom stakes (1789) against the understanding of the highest sail;
a square moonraker, of Guillaume Le Gentil’s Indian voyage (March 1761);
disregarding the binary Alpha Centauri in the southern hemisphere known to us
in its closest 1.33 parsecs from Earth, for a nameless province of the
constellation Cygnus (M39)—Below Celan’s Tabernacle Window (1963),
which begins with the second
Letter, Beth—that is / the house where the table stands, / with
the light and the Light (lines 48-50)—Steles
of Kiki Smith’s etchings on Nepal paper and cast leaves, over which a
Nymphenburg bisque Light Catcher (2013) tempts the
fallen seconds
Of its inception as moths—At Pech-de-l’Azé, Neanderthal’s firestarting
manganese oxide blocs lay pulverized across an ancient ocean now reflecting
Curiosity’s infrared wavelengths—The clear picture repeats of the missing Beagle 2 Martian lander wheel in the same varnished gullies of sublimated
slips of filled-in moraines, in a climatology Flammarion correlates to the tropics of
Leo and Virgo (1876), which as just as well could be the corresponding
terraformed lakes of another Silvaplana and Sils—
Of Père Badrutt’s four gentlemen invited to overstay their holiday at the
Hotel Külm (September 1864), came the wave of patrons to winter sports
following Caspar Badrutt’s conversion of the Beau Rivage among the Latinized
alpine tribes of Engadine San Maurezzan, in Romansh,
The Saint-Moritz Palace Hotel (1896), for the baths, skeleton,
luge—Nietzsche situates in his essay, The Wanderer and His Shadow (21 June 1879) to his stay there,
having elevated Poussin’s Les Bergers D’Arcadie (1637-8), Et In Arcadia Ego, with one of the four figures hunched in his projection;
a bow to the hub of the marker, toward a future boulder in Surlej by the
waterfall (July 1881)—To become before Giacometti just
a face,
Seated as his brother, Diego, each day from 1935-1940—Dr.
Leibovici points to the radiopaque mass of the X-ray film palpable in his stomach
(1963), every day, before resuming work with the
undecided New Horizons (14 July 2015) to Pluto; sighted by Omicron Sagittarii
sometimes Moon-occulted and near the ecliptic then to its binary, Charon, whose
nearest approximation to the planet and the name of the astronomer’s wife (7
July 1978) synchronizes with the itinerant viewer at pericharon from seventeen
Thousand miles away—Thought of a separation oppressed her, while maintaining the erotics of a phial or
split, for as much as a bottle contains that referred opening and preferred
side of the infant auscultating into the aorta from the lower left anteroom of the heart—Reference to Duchamp’s visual indifference of Portes-bouteilles (1914), aptly named for copies of the original, the Hedgehog, lost to diligent
housekeeping, then what is missing is received by the director, the uniting
shorthand of the milk bottle left for exchange—Propositioning
at Madga’s door (1988)
as it shown across the Three Colors (1993-1994);
her older self ignored by the first hearing her own composition being played,
the actress
In Ivo van Hove’s production of Anne Carson’s Antigone (2015)—In which she names Brecht’s play from Hölderlin performed at the Chur Stadttheater (February 1948), the lead actress
Who is his wife, Helene Weigel, on her reentry onto the stage, with a door—Seconds
Until the hand is at the door, without my flesh I will see (19:26),
without celebrity, on the fourth day when the luminaries were placed—Nelly
Sachs, who is left at seventeen,
Later recognizes her family’s elastic vulcanized gutta-percha wire, in
the surplused submarine telegraphy in her Stockholm apartment shared with her
mother since 1940—Having read moments into an exported language, the attribute
of action within sixteen years of their correspondence punctuated by his missed
appointments with philosophers—Of eight stanzas of a broken sentence at the
mountain of death, she poses beforehand the butterfly documented by Celan, who
tipped the scales of dust (1961), with the swallowtail, or Ritter, a knight, in
German—From the meeting (May 1960), Zürich, the Stork Inn (1963)—we / don’t know, do we? / what counts—To hear of his death that April, she
succumbs to the bowel cancer taking her father (12 May 1970), and somewhere,
Joseph Beuys fulfills his revolutionary duty, and sends to his collector, Dr.
Speck, Sils-Baselgia (1970)—
A picture postcard from the power stream, Haupstrom, of
one-light-year-long whirlwind revealed
at the epicenter of Messier 8; stamped Düsseldorf, and conducted concurrently
with the publication of Lichtzwang, Lightduress (1970)—The
list of offices in Celtic Rhaetia list geminal, or re-assorted halves of
legions having crossed the
Rubicon (10 January 49 B.C.E.); proceeding with Trajan against the Dacians (101
C.E.) during the writings of Suetonius in which Lives of Famous Whores were
drawn from the logical consistency of the Vitae of the Caesars—Either
psoriasis, or ringworm aggravated by assiduous strigil use; the historian cited
seven patches coalesced into the constellation of the Bear (Augustus LXXX) to
match in the alpine melt but one suggestion of the retrieved Muri bronze statuette of
a puerile girl hand-feeding Dea Artio—With Trajan’s biography in six revisions;
an inconstancy that typifies quartan fever notwithstanding the
amending climate from Rome—Incised on lesser capitals, the designs of the
ceramic ware commiserate, as if to delineate them from the Engadin midwinters
on Romansh
Façades—Ceding to Bismarck, and the art of the possible (1871), the
progressive banker Adolf Hermann Hagen drafted in
less careworn times (1863) from the Berne gallery the Muri bear with a maudlin face
(1863)—
Ministers seated in the diet take report of the free state of Hamburg, and duties to broaden the Elbe for the largest of the Vulcan shipyard’s S.S. Imperator (June 1913)—Paul Klee’s etchings of the Erster deutscher Herbstsalon, Berlin 1913, not including the Garden of Passion (Garten der Leidenschaft) (1913), with republication of The Red Room (1879, 1913), by the Strindberg who Thomas Mann deemed the first Surrealist (1953)—Miró’s automatic Siesta (1925) the azure wind the umbrella clips, with the cup ideogram, nun and ordinal two, for 52 weeks and two days of the solar return, the son, the Surrealist exhibition, and sidelined Monsieur Perlenschwein (1925), from calcification of his condition, the inurement into a nacre face—
Suspected toxicity from red, violet pigments rich in manganese—Paul
Klee's self-portrait's rhombus eye Ernst Mach (1905)
found geometrically similar to the square, but antic as she who covers the eyes
of the other student turning a Rubik’s cube, posing the closed question the
professor fails to resolve (volue) into a tesseract, and another reality—Eva,
indiscernibly the actress
She seems before Jean-Luc Godard (1984)—Based on her crying photographs
and casting, he decides not to bestow upon Juliette divine chastity; rather,
humiliation beneath a towering intelligence pointing to the
protoplanetary disk that provides evidence to Jupiter and Saturn’s formation—In
June, zarcladur in Romansh,
The Latin sarclare, to spade the weeds, with the part of the made basket,
the Moon, the setting Sun, and Marie conferencing the tulip’s six stamens
around the pistil’s base—Poussin’s Pharaoh's Daughter Finds Baby Moses (1638) in a
detail of a pyramid, with the contrary red queen and white king pointing to
their reflections in the Nile—Second
To Yves Bonnefoy writing in L’Arrière-pays (1972), of
the discovery of the same unworldly presence in a Tiber laundress and her infant;
still not to be found in the seventeen
Provinces of Gaul or the Hapsburg Netherlands—The playwright, Melchior,
or perhaps a corruption of the composite of Swiss franc, maillechort,
draws the star of the stage to Sils
Maria 6,000 feet beyond people and time, and it is the untimed assistant who shows greater potential after the curtain draws on the glass workplace of Olivier Assayas’s The Clouds of Sils
Maria (2014)—From the Crystal Chain letters (1919-1920),
Bruno Taut stages a
characterless play, Der
Weltbaumeister (1919);
such were her thoughts just before Gillian ascends from the water with
a blue luminescence, in her repaired, and in places, immobile face
Grafted from her own side—The studies burying her unprotected body under a layer of graphite meteoric impact or
radiation makes amorphous, side by side with the unskilled unraveling of burlap
for the museum dais, remind her of a formalized complaint of the unmaking of
her seventeenth
Year—In the vein of a young woman’s cheek to disinter the ashes of Luis
Barragán (1902-1988), of the imperative, don’t look at what I do, see what I see, to compound
into a diamond (2015) for proposal with the Birsfelden foundation’s
rights and related photos—Jesús Reyes Ferreira, Luis Barragán,
Mathias Goeritz complete skyscrapers without a purpose as featured in Jodorowsky’s The Holy
Mountain (1973), with Pluto, the architect among the seven
accompanying the querent to Las Torres de Satélite (1957)—Magda, the actress
(1988)
Throws the Queen of Spades, as guest vocalist (2016) at the Berlin
Philharmonic, formerly Zirkus Karajan, prepares Tchaikovsky’s It is
already near midnight, Aria of Lisa from three acts in seven scenes op.
68 completing Pushkin’s libretto in Florence from Berlin (1890)—The Elbphilharmonie
transcends a Hamburg warehouse as a seining net clad in wavelets, where the
project leads coreport on Herzog & de Meuron’s parallelogram botanical
high-rise, the Jade Signature in Miami (2017)—Somewhere, a modern Castorp
reprises the Romansh
Chamuotsch, the chamois goat’s dexterity riven on the skis in the lift queue—A selected sender, Miss Julie, sends a second
Chamuotsch, the chamois goat’s dexterity riven on the skis in the lift queue—A selected sender, Miss Julie, sends a second
Disregarding e-mail, and in seconds, in eyes the evaporating Maloja district of Sils with its resplendent hostelry—
Not for record, a certified copy of the primary document, unsaid in
Switzerland’s four official languages, the Romansh greeting, Allegra at
the 2.2 meter stone Botta Striera gouged
into power lines—Seventeen, the Latin’s I have lived acquires
what José Ortega y Gasset terms the mute incompatibility with certain aspects of another person (1957)
Adorno, Heidegger, and Buber failed
to clarify; not facing the interlocutor—No more sand art (1948) of seventeen mutes and one
less actress speaking, that which cannot be lifted, from the eighteen that is
expectancy, the moons, Your song—your answer […]
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