I. Embuer l’enveloppe [apporter la pierre à l'édifice]

I. Embuer l’enveloppe [apporter la pierre à l'édifice]

Concerning pages of a circumplanetary-disk discovery (Zhu 2015) and the crest of becoming vertebrate (Bronner 2015)—

Involuntary attention paid to the wake of the Venice of Portugal’s Aveiro lagoon trailing behind Edith and Little Bear’s oars

Culminating before one 248-year orbit of Pluto, where an opposition becomes seated on the ecliptic (2018)—Since their launch, and the approach of New Horizons in (14 July 2015) above Sagittarius, or the near the handlebar of the teapot

Asterism, Delle Caustische, M24 (20 June 1764)—Little Bear thought of the blusher notes of Lynne Ramsay’s camerawork, with nothing quilted to conceal a Wilcox silver-plate fashioned by Paul Lobel (c.1925) into a space dome, which the designer from Baku had so insulated, keeping the infusion molten metal in every cup—Date palm jaggery

Coats the spoon instead of cubed sugar; though, they regularly eschewed both for waning sensitivity of beta islets—In their view, as Edith frequently quailed of screening phenomena in condiments, a butterfly had flown, or flapped, lacking the forewings to glide, and a relative, to boot, of the Parnassians of Lausanne—

With the host plant nowhere in prospect; nevertheless, a Southern festoon, or La Proserpine, Zerynthia rumina, resolved there on a patch of salt-tolerant evergreen called candytuft around rings of dried paint box microalgae as well rinsing salterns of  the flamingoes’ Celestún and the Veneti’s Guérande, the latter whose church of Saint-Aubin’s encloses Roman pillars reproduced by Eugène-Emmanuel Viollet-le-Duc (1814-1879)—

The sixth key of kin and Cain found in Pieter de Hooch conversation pieces; searching the Met’s Eve (1663-5) and in-flight Jupiter with Ganymede in Lisbon (1663-5), as if they are one-in-the-same steered by a decametric radio wave, then the barking at the unnamed visitor, not perceived in the building itself, by the camera lucida engaged by Viollet-le-Duc—
The Enterer lingers on the link between the first woman and a fish seen by the embedded eyes in the mantles of the giant clams raked through mucous nets and coral carbonate in the South China Sea following their procurement, and the projection’s exploded corbeling—Variations of 37 vertebrae, with the most frequently encountered at sacralization, after Bourgery and Jacob’s Traité complet de l’anatomie de l’homme (1832-1854), the hemal arch enlarges the five to six to seven sacrum and coccyx of the human vertebrate—
Little Bear departs the office of the spinous processes to Helmar Lerski’s faces and the banality of sun damage—Karel Teige’s communal living arrangements and sleeper cells of The Minimum Dwelling (1928-32), and the couch jerrybuilt by a nude after Milca Mayerova’s removes of the alphabet, a typographical ballet bound by Nezval and Teige into Abeceda (1926)—Teige declaims the concretion of power; anticipating the democracy of networks, in Otlet’s Universal Decimal System index cards (1910) intended for Le Corbusier’s unbuilt ziggurat, the Mundaneum (1929) at Geneva-Lausanne—
After Desnos’s L’ours (1944), the blue country of thunderstorms swerves to bisque; as Torricelli thought the wind, wool, and packing the end of his mercury tube (1644)—Allowing the Venetian fórcole directing the oars,
The most recently visited on the Cassini Solstice mission driven by ion engines and bullous fuel depots (19 December 2015), inferences from each brush of its 27 experiments on board; now, the geysered tiger-stripes of the sixth-largest moon, whose nearest-whole albedo that once was the snowball Earth, appends a global ocean, Herschel (28 August 1789) first noted north of the teapot
Lid, or Archer’s bow-star, or Bayer’s Lambda Sagittarii (Kaus Borealis)—When a new planet swims into his ken (line 9); an infinitude since Uranus was discovered (13 March 1781), in a sonnet Keats composed one morning in October 1816, without venturing down from Mount Amiata to Sicily, whose volcanic loams yield an acidic backbone to the vines, despite much mention of viticulture, slaked there—1789, year of the construction of the present terminus of the Carioca aqueduct, where the protagonist from Preciodade in wintry June (1984) orders a café without centrifugation, with jaggery,

Rapadura, in Brasil, after taking in Mestre Valentim’s plans from the Santa Teresa bonde toward the Passeio Público; indistinguishable from other formal gardens, but for the autochthonous witnesses, two crossed caimans, recreated in bronzed stand-ins for some expergefacient hurt in their regard—Jaggery

With specks of wood ash, as the weather begins to wear in the pored pyramids (1806) framing the common’s Fonte dos Jacarés and Fonte Do Menino—Fonte das Saracuras with turtles estimated from a wakeful hiatus—At Napoléon’s invitation (1801), the speculation that Herschel strolled before the aureate Bassin de l’Encélade Gaspar Marsy had cast in lead, with a scream of a dissevered aorta of a central fountain, left to seize the remnants of Mongibello’s lesser spouts (1676)—A descending load of La Bayette, the enlarged nave’s débords; after adherents of the décadaire made a bonfire from the rood, which had been spared for its clock, for Viollet-le-Duc’s

Western portal through Genesis and Apocalypse (1865); the brothers Lumières captured in starch-colored Autochrome, la cathédrale des charbonniers, Notre-Dame de l’Assomption—East of Taurus to Orion, the Full Moon until 2037, when they will still be riding bearish sentiments for the gallery quality refractory porcelain, for its potential blanks—In the Mind tempted into silence from the fluted architectons of a teapot (1923)—

What once had begun as a stage curtain—The word fishes for something that is not a word (1962)—Four versions of Black Square (1915-1930), for a headstone (15 May 1935), disturbed by two cups, together, which comprise the plenilunia out of which the stretched line of a factual septum, above which surfaces a sturgeon, from Malevich’s An Englishman in Moscow (1914)—Reading aloud, E.H. Gombrich’s A Little History of the World (1935), of the “B” unchanged since Phoenician times opposes the weight of the fluid; retaining force arrows of the displacement method gauging the gold crown’s carats, of a skeleton in the Natural History Museum in Vienna, of the Diplodocus, and longest vertebrate—

Plus 80 caudal plates, Efraim Racker likewise had stood, under their chevrons like skis—Down the cantilevered tail, suprasonic thrashings of air are worked into pockets of plasma, and toward future laser-seeded Q-carbon, whose film on the aircraft nozzle disperses shockwaves—Moving megapixel displays, yet more needful of their woodless Grafstone notching the same plights, if far from the cave—Then to the subject of Lausanne’s

Mucosal vaccine and adjuvant conference (2016), such is uniting Sabin’s attenuated oral vaccine (1954) coverage that thins with the membranes, and Salk’s inactivated injection (1955) requiring a baggage train of sterile-gloved provisions, both against the shedding of viral envelopes—Racker in Minnesota (1942) saw the labyrinth of systemic circulation stir, but respire in vain, and given these observations of poliomyelitis in mice, later established by the removal of mitochondria, particularly termination of the rotary die of ATPase (Complex V) reactivated, when recombined with the missing factor from the supernatant (1960)—As it was today, the Moon-Saturn opposition in transiting 10th and 4th demesnes, amor desmesurado, adrift in a wilderness of lakes and frozen lean-tos as if it were apprehended at Saint-Beuve’s Romantic Kamchatka (1862), Terre des Ours (2014)—

Coaching concessions, the stone bolster where one dreamt fits under a seat of Coronation, and there, the order to become suddenly more larval, and seven years further behind (1984)—With the oars

Raised up the Douro from Porto to Gaia, of an etched vessel, with squatting room of an upturned umbrella—Paula Rego’s Steering the Boat (2009) conforms to the catch, drive, and recovery of rowing, seeping prana, the remedy of which is shaved ginger in jaggery—

Cascais, Eduardo de Moura Souto’s Casa das Histórias (2009), is tinted the sindoor of the parting of the brow of the river—Marriage, with a leveling or lofty brace of pyramidia consigned without topstones, after the Giza Pyramid, or, Porto’s earthenware tiles popularized by the Romans at another Celtic settlement, the improbable l'Art Brut haven, Lausanne—

Discovery of God, Ithuriel’s spears, Triteleia laxa, are the trililies for your blue eyes bordering the impressions of Louise Bourgeois’s Lacs de montagne State V of XIII (1996), after Gautier’s forging the Sun at the bottom of his temple (1840); sited never far from the body, in pedicels projected into the urinary space over  minute pulsations of the glomerular filtration rate toward oscillations and contraction of labor followed by retrenchment in the house of the double helix, lumaca doppia, that became a staircase for François I (1518-1547)—Da Vinci had left in his plans to make the airscrew stationary, and the towers of the keep superimposed on the spread-eagled  L'Uomo Vitruviano (1490)—Viollet-le-Duc,
Sketching, overlaid the transept arms with this quadrature of man, the ascending four evangelists and a gallery of chimeras beneath the restored flèche of Notre-Dame de Paris (1860); a contemporary sharing his melancholy for a tyrannized mother, in the Naples of the Bourbon Kingdom of the Two Sicilies, Luigi Settembrini is writing his Ricordanze (1839, 1851-1879) aspersed with incarceration and a complete translation of Lucian—Having founded a codex of watercolors of the Alps and Pyrenees reconquered by geology, the architect’s crystal system of 1/40 000 of Mont Blanc (1876) no less, had he lived, the draftsman of his understanding would have drawn the constellation of Sagittarius, the spout of teapot,

At which the Twins, the horn of Taurus, Elnath, enjoins the ring of Auriga at the Galactic anti-center

This longitude of the Milky Way with the Sun on the origin, from the Premier Entretien (1863), all of primitive man’s capacities at first deployed in habitation, with a lion on his door, until awakened to the seven serpents tracing upward through the 33 vertebrae—

From Agnès Varda’s Le lion volatil (2003), Clarisse speaks La Force (XI), as if she is being read to, unconscious of the steam from the confiture of the copper cooked to a blood consistency—Out of Baudelaire’s flaçon through which all matter is porous (1857, 1861, 1868), and a score below which the aorta enters the abdomen, the descending rami of birth pains, at the eleventh anticlinal vertebra—

In 1890, Fritz Steiff’s Filz-Spielwaren-Fabrik pushes the ambitions of felt; as the combined volumes of Poems is brought out, covered in a gilded white, darkening to red, mycorrhizal Indian pipe, whose each of ten anthers open via two curving slits—The volume on Life assumes the arbitrary Latinate order preceding red and black at war; delivered as a formula for twinning cinnabar, from elemental mercury and sulfur, IV. ROUGE GAGNE; stunning before, II. Our share of night to bear—Together, to lie on the oars

Of what Robert Hooke termed watered, or maccerell sky (1663)—The childhood room is pictured through the film of Guerlain’s midnight blue Baccarat quartz crystal (1925), from the same span the Bonnards married, whose screen assembled from three gouaches, L'enfant au pâté de sable (1894) progressed to its permanent residence with mimosa cascades, Le Cannet—The binocular asterism of July, the teapot

Of Sagittarius encloses the Swan nebula (M17) sought by Philippe Loys de Chéseaux from Lausanne (1745), and then the July Revolution coinciding with the publication of Le Rouge et le Noir, further pained by the miserly cooper of Eugénie Grandet (1830), where Balzac makes much of the fruit, when dried and the seed unattached resembling a wheel; a quince, reaped from the veritable face of Mars, by Cydon, the son of Hermes and daughter of Minos, the father who sentenced fourteen to the labyrinth by the full moon equinox, and then the engine of prosperity likewise forgets Charles and his alternate approach along the Grand Trunk Road’s acres transformed into jaggery—

Warm woods and hand-painted bricks of Roland’s Roquetaillade finished (1870) on the tail of Histoire d’une Maison (1873), of a schoolboy and his architect cousin that may have inspired Eugène Green’s La Sapienza (2014)—To Stresa, where John Ruskin, after the first of five volumes of Modern Painters (2 September 1876), crossed the Simplon Pass clasping Le Massif du Mont Blanc six decades after Byron and the Shelleys arrived at Lausanne (May 1816),

After transported ash of Mount Tambora obscured the Summer Triangle—The architect’s wife is for Aliénor of Aquitaine, who launched the Second Crusade from the Basilica of La Madeleine at Vézelay, where Viollet-le-Duc

Presented Judith in a capital a decade into his restorations (1850)—Who observed the Winter Hexagon just before Women’s Day, where a youth is mown down on a freeway outside of Bucharest, the worst day in both mothers’s lives, bent in Child's Pose (2013)—Followed by a homecoming to Rome and Borromini’s hexagonal space of Chiesa di Sant'Ivo alla Sapienza (1642-1660), with the six eggs in a pyramid of the dome, and a equilateral triangle praised by Viollet-le-Duc

In the floor plan's Solomonic star, to be experienced at dawn, when the perforated lantern lights the oculus—Before the Catacombs, the Métro sign of Denfert-Rochereau is styled by his disciple, Hector Guimard (1905)—Harry Colebourn emigrates from Birmingham to Canada, to return August 1914 as a Lieutenant in the Army Veterinary Corps with Winnie, his she-bear, to tend the nine thousand horses of Valcartier—Where it is not a question of  preference; whether a daughter or son, a potential offering of agricultural yield or gore, the rider rates the heart girth of a horse’s protruding withers; the most communicating vertebrate,

By the symphysis joint—Lead as we are by this sense, as patrolling for the Home Guard, Alan Milne is lead to the friendly bear of the London Zoo, and when he recalls Pooh the swan; the character is beseeched to be reinvented from Edward, for the stories from his own son’s familiars (1926)—Some picture postcards undoubtedly passed through Hôtel des Postes, Lausanne,

Their plush cynosures exhibited as Partners (2004), for just such was the magnitude of these sitters (1900-1940), Ydessa, les ours

Et etc—How can the two construe a small photographic index; daring to implicate the Universe, for a woman equal in weight, Atalanta, now prunes her orchard before the fine automated spray of the sprinklers coming on at dark—Mercurius, or Narasimha, the lion whelp of Judah posited by the Physiologus who has awakened him? (49:9), in whose sentient contours is drawn the utility of the Big Dipper, or the Teapot—

From the Latona fountain, lined with hydraulic limes from the Architectural Novelette (1879), the vision for her successors to sit for exams in subfusc and heap praise on Atalanta (HWV 35) (1736) before the fireworks, in a licenza for distinguished members of the audience—Jaggery

From the oldest germinating date palm retrieved from a squirrel’s hoard in the Kolyma permafrost, where Viollet-le-Duc is mentioned in The Palm at the End of the Mind (1971), to sightsee and stay on the issue of palm and cane jaggery; the latter exempt from tax—

Emblematic functions of the dolphin; we will stand on its template in-land from an uncommon and early lake of Lausanne returning to the sea-strained teapot some backward vertebrates with arrows of digits turned to ours—

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—