He had watched her leave the ways at Blohm and Voss's, and afterwards made a quite happy water-colour of the graceful ship, done with a good deal of attention to detail, and a loving and not unskillful treatment of the glassy green, rolling waves.
—H.T. Lowe-Porter's 1927, 1955 translation of Thomas Mann's The Magic Mountain (1924)
Piecework did it. It's like instead of a forest with enormous trees, you have to think of small plants with shallow roots. […] Arkin once said that she was a first-class device as long as someone aimed her in the right direction. –Saul Bellow’s Mr. Sammler’s Planet (1969, 1970)
Margotte; provoked to rejoinder that only male quail shrill, was for Uncle Sammler, whose strides
On an occasion from a walkup on Great Russell Street, that day,
remarkable for the Freudian British Museum Isis-Tyche of Cyprus (2 C.E.)—
Ruddered and with bi-horns of plenty, the object which in an ellipsis in
over 45 years’s time; a namesake acronym returns shattering their gallery
vitrines—His intolerance for women branded a Hummel shepherdess, whose former
helmet of blonde brazens to dark caramel, airborne Roissy to Cointrin penning
her love letter to Arkin—His fountain pen’s floating apostrophe between the
open and closed window panels
Exploded in the lining of her breast pocket, after kilometers of writing
its cartridge at last, to land—On her, within overhanging eaves of Grisons,
with its successive Parker Pen, The
Jotter (1954); its tungsten
Carbide capillary ball arrow clasped into the outer blazer, over his
camel pardessus—The former Caroline’s as well, a carmine bespoke American Beauty (1965), in the first
class of aisles of amiss and mistaken from the saved clipping of the Boeing 707
prototype Tex Johnston barrel-rolled over Lake Washington (7 August 1955)—The
trip was Shula’s entry for The New York Times Magazine travel sweepstakes, and
the drawings exceeding probabilities, as much the excelsior of the Dutchess
county sofa with stashed currency, with intimates—
What she brought with the winner’s reservations bundled with her pre-war
passport, a cloth-cover of Kuznetsov’s Yusnost (1966), Babi Yar released in an uncensored edition’s document in the form
of a novel (1970), is the MoMA exhibition press kit from Ilya’s daughter’s
penthouse, out from under a mountain of catalogs, of Jacques-Henri Lartigue
(1963)—
Through its gold foil, Diary of a
Century, greening (1970), enclosed so many wheels of aviators and cyclists,
yet first thoughts were of turbine entrances of dams—Margotte; inattentive to
Dr. Lal’s plans for the milliard cubic meters (mem) of the solid state lunar
watershed of comet impact water through manmade inclines for future stocked
fish invulnerable to cosmic rays—Simply sifting scenarios for the skirt whorls,
hatbands of Lartigue’s
Models is naïve countering Richard Avedon’s lens—Rossellini’s production
of the Cocteau screenplay, Il miracolo
(1948), without sound, is mastering the ecstasy before Fellini as a goatherd,
or Joseph, Nannina, reaches for an apple, in whose abstention becomes
Magritte’s Le fils de l'homme
(1964)—Wide strides
In the orchard, the holographic way of Rémy de Gourmont (1858-1915), Simone, écarte les guêpes (1901), and stridulations
from being gratified—Not E.E. Cummings (1917); still regarded in mis-estimation
of the Calligrammes (1918)—What then,
of the Selenites building a sphere (1901), after Boullée’s Cénotaphe à Newton (1784), the opposing, perforated antiaircraft
spotlights before the Allied bombing campaigns, from the Lichtdom
(1933)—Intimates
Of administration; incredulous, as they read the editor of Fortune,
Galbraith, his attorney, Ball’s seven-day interrogation of Albert Speer (Life,
Dec. 17, 1945, 57)—Touching down on the single concrete runway of Switzerland,
with Settembrinian epithets that Roentgen’s wife, also named Berthe, as the
sitter for Auguste Clésinger’s Marianne (1878), whose silhouette of her hand screened,
through what was then believed the fourth state of matter’s induction coil and
evacuated Crookes tube, the bent band of X-ray emissions (22 December 1895)—The
hour ferry from Cyprus
To Jaffa, Andromeda’s mainstay, and mention in the seven war books of
Flavius Josephus (75 C.E.)—Intimations of Joseph Cornell’s Sand Fountain (1953) or the installation in the Guggenheim, Grand Hôtel de l'Observatoire (1954), in
both the Aaltos’s Paimio sanatorium designed down to its washbasins—Blocks of
sunshine and feathered lenticels of birch plywood chairs (1932), for hamstring
pressure points and chest expansion—Waldhaus Flims in August, with its peaking
meteors, to March, when it is not snowing, through each of its balconies,
panels
Of Harvard's Donald Menzel’s constellation families, of Perseus
(1973)—Seen in Verdi’s Isis in the Temple of Vulcan (1871), a seat of the liege
made the incandescent filament at 2500 Celsius, and symbol (W) of tungsten—
The Hanseatentum of Hamburg,
where Bruno, né Schlesinger, Walter conducts Aïda (27 September 1901),
including Lübeck and beyond the Alster Basin; predecessor of the Charles—Out of
which Thomas Mann; an isolated point of our curve, summoned one black among
white swans, as they were in a dense flock on the mirror pool of Schlöss
Benrath for his last novella (1953), then gathered in the mill dam besides
right of way barges of the crackling tin of Erzgebirge separated from smelted
wolf’s hair, tungsten—
On another shore, Cornish regulus
and wolfram, its resistive wire down workable into the cord and contrail of the
farthest unaided sight of the Swan’s tail, Deneb, through the ball of the
question mark, the Lion’s heart, using first among seven stars of Ursa Minor as
the cynosure—Training his manual shutter since age seven (1902), Jacques-Henri
Lartigue
Captures the essence of
childhood, which halts abruptly for the cause of having done nothing to deserve
its patterns of a pricked paper stars—Backlit by permutations of Edison’s
carbonized sewing thread, Swan’s cellulose (1881), Siemens and Halske’s
patented tantalum (1905), until two Austrians, Alexander Just and Franz Hanaman
(1904) sell up to General Electric (1907), if their newfound sobriety in the
four corners of each room, the Braun SK55 Snow
White’s Coffin (1956) spins tarpool LPs pending redesign for the disquiet
of society meetings, which bring the wraith of the Coburg doll-manufacturer,
and among those in whose endothelial networks tubercular bacilli lies sleeping,
but for posttussive rales between Mariano Garau’s four-voice chorale of the
ninety-sixth Psalm and the Mingus Quintet’s Reincarnation of a Lovebird (1957)—Hazarding the particulars of frame-panel
Wainscoting, there it is slightly
stained by fireside deposits of lignite, with Henrietta’s thrown seven of hearts into the Schnier grate (1963); as perhaps it was before Heinrich Böll,
the first German to win the Nobel Prize for literature (1972) since 1929—Thomas
Mann settled then, if not on the unslantingly dumbstruck vehicle of Arrhenius’s
tallying beyond his Uppsala cathedral school, the formula of radiative forcing
of carbon dioxide (1896), on the nothing before G-d, Der Bajazzo (1897)—Similarly at sea and in stature of Robert Frost’s A Record Stride (1912)
Hans vaults into the cast iron
bath, where the Sepentery rings beaded from the failed faucet
housing—Nevertheless, on the edge Marie reads aloud, recalling that gallery
print of Figure III. of Lucas Jennis of Lambsprinck (1620), where the
Shulamite's beloved is too intimate
Before fixed likenesses—A great and strong deer; / The other an unicorn [...] (3.4-5), or Song of Songs, a stag, domeh (2:9) and herself, a mare, dimmitik (1:9), by turns the date palm (7:9)—Adding teth
(9) to each mem (40) to obtain twice forty-nine, Shoshan is the lily that
secures the immortality of Neferkare Ramesses IX (1129–1111 B.C.E.), and
possible origin of some of the forty-nine words absent from the indices, among
them, being the steed of his ancestor's chariots (1:9), then the serpent and
final punctum, and last of Dan to proceed with the fallow deer (Dama mesopotamica) on the strait to
Cyprus—
Derived from the Bruges
strong-arm, the Van der Beurse, the Frankfurt Boerse sets upon equivalent
exchange rates (1585); and along with resurgence of this fiend, Johann Spies
prints the Faustbuch (1587)—Transcribed from the Nuremburg in postponement of
Faber’s drafting leadholder (1861), for the flame of the bow, rishpe qeshet (Ps. 76:4), uncovered as
the Canaanite Resheph syncretized at the Idalion as Apollo Amyklaios, and
reported by the Swedish Cyprus
Expedition (1927)—Hofrat Behrens
expands on a quarterly from the same year, the molecular weight and osmotic
pressure of crystalline albumen constituting the ova and coagulating fibrin
unruffled in the form of Brancusi’s heads, some taking his entire career to
turn and patinate, to number Faber & Faber’s Lupercal (1960), as the eye-guarded eggs in these hedgerows—When the twins communicated to the hand
through the sound of the seven-stringed kithara; the first fabricated by Hermes
from a turtle shell, or as the application oxidizing with silver, Atget’s The Orangerie Staircase (1901), which
had confronted Margotte in the consulting room—With then little thought to
Georg Agricola’s lupi spuma (1556),
Bergman’s heavy stone (1781), of which any traces of the metal; unlike all the
plate packed on the ossatura of Cellini’s Perseus
(1545), which will not weld, Juan José and Fausto D´Elhuyar y de Zubice
first isolated from Scheele’s sulfur-colored, hydrated tungsten
Trioxide with charcoal
(1783)—Youths that once ran up the avenue with goatskin thongs, and stopping
before nearly a score of riderless Barbary horses raced the Via del Corso for
Carnevale until 1882, in another city meet as intimates
Seated with crossed legs in
Thonet's No. 14 six pieces of steam-bent wood chairs (1859)—With his motions to
catch his subjects in midair; there is the unrivaled subtlety in Lartigue—
Among the Davos attendees is
Robert Louis Stevenson, at Steigenberger Grandhotel Belvédère, [February 1881],
who is passed the copy that would become Horatio Forbes Brown’s Life on the
Lagoons (1884)—Replicated inside the Swiss hotels; there were those outfitting
the sooted façades of Dordrecht, Strasbourg, Eppendorf in Jugendstil, and here,
an entire pavilion, in otherwise klassisch-feudal accommodations, with locking
door panels
Of stem and glass, and felted, as
to not clatter at the intersection of the Bise and the Föhn in prominences of
drafts, where piz is misheard as pieces, among other mapped horns and
needles—In the wake of the Attilan invasions of Rome (452 C.E.), the Venetian
lagoon of the Visigoths is chronicled by Joseph Aschbach (1827); Ruskin familiarized
the reader Proust; The Wings of the Lion (1865) and why a preponderance of
female nudes of Venice never [...] exercising any overpowering influence, by
the Venetians, the last believing school (1855), on his pilgrimage to Évian
(1899); the author of Sesame and Lilies
in the same voice addressed to Lacerta, Marie La Touche, his pupil's benevolent
reader—Himself, brought to the mature Carpaccio of the Scuola, St. George Baptizing the Selenites (1507), a decade from the opinion of Burne-Jones (1859)—Then,
what of the questioning silence, which seems to cover a reservation at the
unfinished Perseus cycle, though most distinguished is The Baleful Head (1887),
in whose octagonal font is, to the VSEPR indoctrinated, the arrangement of
tungsten carbide, with nickel for sheen, shaped into a dense band—More likely,
the cleavage of each hand that wears it, by the couple loath to unclasp
reflections of themselves—Caput Algol, to the astrologer's son and fifth
procurator of Judea, incorporates itself; the beheading of Herod’s second,
remains apocryphal, as in the ensnared Pythian mane of the lawn's plaster Apollo Belvedere, where
the stride
Of Pegasus sits square between
bows and courbettes—On the waxing Moon of February, highlighting Cancer, the
12th of Adar I 5776, where strides
About the Caumasee and its
footbridge's overlaid rockslides are turning up here and there preserved scales
to tempt the next Agassiz—Professor Persikov, from The Fatal Eggs (1928), supplying the notion of the Nehushtan
multiplied everywhere, along the trodden diagonal between law and mercy exposed
by Rodchenko’s Asphalting a Street in Moscow (1929)—Calling to mind the
unregistered Danites; equally the lot of Artur Sammler, who considered the
martial sendoff from a village in Piaseczno his first achievement—The mugshot
of the Apollo XVII Mission (1972), whose Vatican copy from Leocharnes,
the 4th century contemporary of the Callippus, posits for all time, as well as
any astronomer, another seven junctions for the seeming retrograde actions of
crossing bodies suspended above the Earth—At Kition, Cyprus,
Before the destruction by a quake
(322 C.E.) fetched down the bulk of cyclopean fortifications built with blended
labor, as on the mortuary complex of Ramses III (1198-1116 B.C.E.) at Medinet
Habu on the West Bank of Luxor, the snake tubes and dog burials; from each
guardian taking in its own indiscernible course, attest to the healing center
there—How the explicitly defended against divided waters and aethyr resolve in
our collective mind consisting of over six hundred gestures of Arrival and
Departure—Integrating the Mauritian namesake of the adjacent ski colony, with
Verdi; more Greek than Italian, from the Magna Graecia levied under the
Hapsburgs, to a Radames leading the campaign into Ethiopia, where the
solar barque once set up the Blue Nile protected by the Two Ladies of Upper and
Lower Egypt, the vulture and cobra, enumerated in panels
Distilling the name in motionless
amnion; later, furnishing the key to the inscriptions—Being far too
disintegrated to question the man who had thrown himself down a flight of
stairs, Margotte had anticipated the meeting, when Primo Levi’s Il Sistema Periodico (1975) earlier on,
found its way into her hands, as did Uncle
Tungsten (2001)
What had amounted to a cambric of
girlhood shams, the Fascist spirit and subsequent antagonism beyond the printed
page, Arkin rediscovered through intimate
Disputation, which is the highest
expression of marital harmony, and each session achieving a new stand of the
oaks of Bashan, its founders withstood analysis—Accounting before the first
examination of the human brain (1663), before future imaging collapsed
metabolism, light, with the saltation of human thought, of T.C. Greco, the
surgeon and painter’s amanuensis, as with Tulp the anatomist (1632), who found
the peau d’orange of the left breast of Hendrickje Stoffels (1967), by which
Rembrandt exposed the seventh daughter, his Mistress, Bathsheba at Her Bath (1654)—Margotte conceded the fashion
photographer with 130 extant albums of the momentous family as a promising explanation
for Lartigue’s
Poignancy, beyond white marking pencil and negatives, as drawing by the camera lucida—Besides Lartigue,
Partiality for Brassaï’s 1934
edition of Minotaure, for Barthes (1985), the background exists fully;
elsewhere, Zissou’s flying technologies, for which the stride
Pathé camera is again readied—For
Taurus skewering the asterism represented by Erichthonius, sire of Tyche;
Arkin, back in bed, flustered by this zoophilic talk and the
six-hundred-year-old ark-maker disposition in collecting—Hesitant between
Pausanias (150 C.E.), the recitative horse, Arion, conceived by Demeter in Fury
semblance coupling with Poseidon (VIII.25) or the seventh-century Arion
Herodotus (I.23) indicated, originator of the dithyramb, flung off the boat,
then straddling a dolphin to Taenarum near Corinth onward to Tarentum at Apulia
with the Parthenians—Near Cetus, whose lower wave front is sketched by Deneb
Kaitos, at the celestial equator, Charybdis at the Strait of Messina that
gyrates into triskelion, or Algol and Ceres at the same degree, transiting
Pisces—The Two Sicilies's Piazzi, who secured the flying star of 61 Cygni
(1792); for a second time, at the cappodanno of 1801, the asteroid (2016)—After
an intimate
Dinner and walk to reflect on the
day’s separate itineraries—Saving for daybreak the just-released Apollo X
feedback; sometime, in future, an investigation of the Kalonymos of
Hinterrhein, or Lucca, of the ramparts, cordons, and parapets of the site of
the first triumvirate (56 B.C.E.) mortared as a mural crown—The reductive
photograph falls away to Hofmannsthal’s Experience
(1897), His city, at night in dark-blue
water (line 23)—Cyprus
Of the hundred mouths / of a foreign river / fertilize without rain ! (407-9)—Song
of Songs’s beautiful dove (1:15) is Jonah; while somewhere's delivery by an
international Times, per formative
identity, 79 Via Settembrini, Museo MADRE, Joseph Beuys is stepping off the
gallery panel (1971)—
Galleria Lia Rumma’s Gilberto
Zorio exhibition showcases a force-feeding apparatus spraying phosphorus, Siviera e marrano (2013); that word, for
a pigskin, and one with an aluminum star on a palimpsest, Pergamena di luce (2015)—Pronouncing on the viewer with its
captioned side-by-side prints, the way a
sharply swept lawn looks almost blue in moonlight, and tilting the inner
scales of Dan for the difference in the space’s tungsten
Salted gold bars—Borne neither by
feint nor flayed ceremony, Margotte struggled that night as one of two bears at
their circumpolar bindings; the undreamed-of tungsten heft of that
memoriam—James Merrill, as if pulling back from Lartigue’s
Sporting life, confides An Upward Look (1996) containing an
exchange between two intimates, remaining as the green line of Cyprus—Oh heart green acre sown with salt / by the departing occupier—
