IX. Elle est vite retombé [dans amour-là]

IX. Elle est vite retombé [dans amour-là]

Then I felt a great force opening my stone jaws, and many words flowed into my mouth. I heard a roaring of the waters of my conception, and sobs of heartbreak—my own? I did not know. Rivers of air came to me like a new life—and the forgotten first instant of death also came and was gone quickly. Then was my Ka born, which is to say I was born again, and was it a day, or a year, or not for the passing of ten Kings? —Norman Mailer's Ancient Evenings

Dismantled ritual from disremembering starred in our eyes as the Celestial
Water compasses of dew rejoined heads of barley enriched as they unwound the spool mortared
By the returning swallow—From the shelled allantois of the crocodile or black ibis profiled
In the Moon’s faces; our full thought of Isis camouflaged in Nile amphibole and red jasper of whose blood is The Book of Duad, extracting the Secret Name
Of the Sun from our three generations—From whose hermetic seed Set first insinuated the first snow
An emanation unsealed by Re, Beloved Ka, submit our night flights to the hereto unknown, untangled epigenome

In single molecule real time sequencing—Chiesa degli Eremitani; being, an image in the stay of foreign words, inscribes the epigenome—
After an afternoon of love beside the sacred pool; wind-borne to its flood-lined interior as peregrines, we found its priests bereft of benefices; in advance of the adjacent chapel’s blown door, we were transported to a celestial
Ceiling endowed by Scrovegni, the usurer, as the pregnant blue sow—That Isis appeared as the Great White Sow of Heliopolis, and this resting place similarly lidded as the tomb of the Beloved of Ramesses, Nefertari, we perched in awe before the mortared
Panels of Giotto; altogether forming a Cycle—First, before an estimated detail of the mother of Anubis, whose keen scent scatters the snow
Of embalmer’s natron—The just delivered wears a solar disc of the Ennead, which is broadly suggested in the attending Bas above her consort, Set, as the goat's head profiled
Looking away, who insisted she leave the son of Osiris exposed—Isis, eternally touching her Ka, reconciles this dust-burrowed one, whose vagrant bed is furrowed by swine—Anubis presides with her over the Judgment of the Heart with Ma’at, whose Name

Balances with a single flight feather Eternal Life—Precious are the scorpions that groom linen moths; receiving from Isis their own Name—
As Incantations for Spell 23, The Opening of the Mouth, and epigenomic
Count of shared chromatin (23) crossed as the pilot fish (X), as rope, in the daylight celestial
Waters in which Osiris distends his casket—Running aground on his Khaibut's profile,
Of a trunk, and the temple's central pillar; the Lamentation figure in mortared
Blue is taken down from his stalk, where Isis kisses the adze splits, that would pronounce snow

She would mount him to conceive Horus—There, she is in the panel carried on the poor chariot of an ass; sacred to Set, who further signifies the snow
That blights the olive groves—Pronounced doors of the sky open; Mansions of Khepri that are paneled with planed sycamore, the Name
Of Nut (Nuit) pierces—Her head is an emblem; the Greek’s insertion, where Anne’s maid works her distaff, the knot of Isis is meant, and is blanched of its ferrous mortar
Entering the nose; expelled from the dais of the central Judgment—An isomorphism exists between them at the epigenome—
Mothers, whose caresses are rich outflows of the cow, which deepen the promoter known to us as the opening lines of The Book of Duad Ani cast in red—Celestial
Nut, who begot the Ennead, cedes them her freshness, of dissolving video while receptive cones burn down as myrrh—There but for solitary profiles

To superimpose, and come forth from loosened symphyses girding a base nine diameter of a doubled inner vault, our issue of the Kas profiled
The glyph of life—Grisaille Vices and Virtues before which fourteen oases of Osiris sear with their snow—
At the dark Moon, the reborn Two-Lands near to our own—Khert-Neter's resinous scab is reflected; before the Celestial
Kas found places beside the helmsman of the Sun swim among congested eels in a dragnet; sloughing walls of one's own bowels, where names
Of those unresolved passions—frustrated, unworked, or, by their stench, maniacal—must now labor twice at the heterochromatin restrung into malignant projections of the mortared
Eye of Horus his mother licked to suffer the end of perfection—Under the force of the epigenome,

Queens of Byblos swore upon the cow's head of Hathor; among vanquished eye sockets bud lotus, and the epigenome
Inactivates one of its Xes; the same as the Apis Bull, pruning the lawns apportioned its blood profiled
For instruction on these walls—Not far away, a priest, for finding lost things, intones the voice of the one who enters, into whose tongue stiffens with mercury for a canopic jar of gold—Out of the mortared
Gate, the incommensurable three return as nine cell lines; the cataract wells for the curse of itself, and out of a snow
Of fallen plaster thought emerges an aeon of the child seven of the seventh letter for fish; created the fifth day, and we were slow to read below the Celestial
Sighted by two stars to the true north having deviated since the Great Pyramid—Force of the Name's

Imitation that it might be scrolled in the epigenome whose nexus is doubly gathered by the Ka whose Name
Mortared fountains of her mind's black ice and faceted snow—Received from Isis as Hathor, as translocated Xes all phases of which circumpolar Sirius
Marks the inundation of the Nile, above which nine punctured the Celestial, in place of formal systems, of our Ennead in profile—

VII. C'est en forgeant qu'on devient forgeron

VII. C'est en forgeant qu'on devient forgeron

Clearest memory of Shel, is a held door, toward the cut headfasts for Cape Horn—
A terminal aperture that slices the hand on the doorplate—On or after synchronous
Brain waves dwelling on the natal moon phase, Mars combust barring Orlando’s
Facile mock-up in an enclosed forest, a day beyond Thursday, October 11, 1928, and the text’s
Final words—Twelfth stroke of once again Love’s winged wheel’s banded sphinxes, into gneiss
Walls as stalks from Karl Blossfeldt’s Urformen der Kunst (1928) for architects—Up to our necks in Zumthor’s

Therme Vals (1996), on which is written, “Artemis/Diana”, “Mikvah,” “Spring,”—Stifled by expectation, Zumthor’s
Continuously moving spaces of native Pfyn peat bogs, in the Grey Leagues of Chur; at the horn-shaped
Source of the Rhine until Lake Constance—Chur, of the chemist's commemorating Giacometti’s deathplace; if metamorphic gneiss,
Gneist, is to spark, then by glint of a chrome-wheel pharmacy cart yielding The Chariot (1950)—Synchrony
Of our parallel computing should indicate otherwise, then being too shambling to fit shin armor, as the former Lady Orlando
Appearing before chancery for death;  my wheels have spun, from 19.1—A man riding high on Fortune's wheel / cannot tell who really loves him—Ariosto’s text

Goes unfinished for sixteen years (1516-32)—Sixteen years, his wife took up fairer quarters, Giacometti refused to vacate the hole on rue Hippolyte-Maindron—As the flushed text
Suggests, by the worked over crayon, latent positions of active sweat pores, as Blossfeldt awakens us to the golden sections of foliage, as Zumthor’s
Bruder Klaus (2007), and model of the floor cast in lead, housed by 120 concrete-cast tree trunks—Written there; maintained, Orlando’s
Innocence, simplicity, were all the more dear to her for the dark background she set them against—With their horn
Pommels of canes, clay and diamond souls who walk the floor with Giacometti's stride—Fading before us into the hot spring’s gneiss
Surround, and mural of a sky, and where we will share the single bench, before the chapel’s pool for an altar—Ultraluminous x-rays synchronized

From a fossil star (2014) to forget how appearances are synchronized
By the coarsest materials—Giacometti’s unpaired Homme signalant (1947), whose bronze forged on wet plaster is begun at midnight two decades after he stirred his wheelbarrow to Paris (1927)—Through these radials of texts,
Narbonne Cathedral, to complete meant to defeat the city wall, lies hemmed by cupidity and old flames hawking tallow candlesticks, above perched castles on gneiss
Of Montagne Noire—Waves purled as on the pilings from Marmara, where Leonardo da Vinci’s parabolic bridge (1501) laid dormant until our time—Zumthor
Places the Kolumba Museum onto its Gothic ruins brick perforations stir with light (2003–07)—Orlando,
Lucidly dreamt she bore a son Thursday, March 20th, as from a kingfisher’s marine nest, from The Oak Tree's Blue, like a match struck right in the ball of the innermost eye—Reaches beyond applied layers of horn

Or oyster-shell finish concealing Meret Oppenheim’s The Ear of Giacometti (1933)—Making out every contour, pierces as the horn
Of the ibex—Nothing as far-fetched, where sprays of asphodel, blue asters and artichokes in Blossfeldt’s monochrome, but cause for incipient synchrony—
St. Benedict Chapel (1988); clad between partitions of blue and green, from Klee, from the Bauhaus, the walking line’s ceiling of stave bearings, or the belly of a whale—Orlando,
Enitharmon at her wheel dreaming Milton and expansive space, in advance of conjoining Los, or Loss of Time; from copperplates, nine texts
Blake referred to as nights (1797)—From an earlier plate, Hecate is deaf to the seven trumpets grazing a Poitou jack (1795) in a gneiss
Setting upturning garnets—Crossroads deities flourished in the 4th century, of abutting Celtic and Roman settlements at Chur for Zumthor’s

Protective Housing for Roman Excavation at Curia (1985-86)—Resorting to Zumthor's
Suppression of antagonists to the present; a lack of peroration in the elements about us—Making the face’s horn
Topography flatten like a sheet, Giacometti’s Tête qui regarde (1929)—Blossfeldt’s magnifications; just as the fence’s blaze of Virginia Creeper is approached by a deer’s crown where wire netting had caught, the banded gneiss
Outcropping that foiled my spade, for the first of seven editions—Recalling that day, so long ago, the porpoise at the fishmonger’s was a frilled shark, and the unforeseen synchrony
An inch of silver—six words—in the bottom of the net—Stares of mutual timidity and audacity that while the body wheeled about galleries, Orlando
Houses six gill arches, the seventh, the faintest, between our doubled faces of Love, to be dispersed as six copies of The Chariot (1950) prefigured in our texts—

Zumthor is still working out the lineaments—Smaller than Giacometti saw them, of the look sculpted as gestural drawing, and intertextualized
Today, from the oldest Swiss settlement, Chur, where seldom avalanches excavate the odd Pfenning—The synchrony of metamorphic gneiss
Prevents it, and melts all who came before, calcined shells, horn, into the renewed mitotic layer from where our foliated biography of Orlando reverberates, and today is nonetheless felt—

XXI. Laisser tomber la neige éclairante

 

XXI. Laisser tomber la neige éclairante

When a hand's phi proportion plucked loop scissors from the half-open vermilion lacquer
Sewing-box, chrysanthemums outside the silkworm's house crackled into a single mon—
Snow Country (1935-7; 1956) recorded onsen powder up her collar, the streak of sika deer in reverse contrast,
Margaret MacDonald's menu card for The White Cockade (1911), with lines of the floating
World in C.R. Mackintosh's plans for the Queen Margaret College Anatomical Department (1894)—
Then deemed a blight upon the locality, or an elegant gaol—Yellow sandstone turned inward, to the casement

Of Leonora Carrington's mind (1937-8); window treatments where late summer wasps went to die, and a casement
Opening to a camera—Its bowlegged surrogate on the wall; beyond, where a dominant white allele (W) of the horse emerges lacquer
Fresh, from being born—Max Ernst is deported to Camp des Milles (1941); thus the void into the sixth département
Of less than two hours, and lifetimes, from Marthe and Pierre Bonnard's Le Cannet, whose diffusely refracted baignoires confer the montmartrois
Seal, bathers as unconscious snowfields, of blanching Chijimi grass-linen, whose weave is most gratified by untouched girls; in contrast
To their surreptitious middles shuttling lives beneath their looms—That know not how to enunciate without a chord floating

Inside—ש, a threefold sign, of a persistent heart's left ventricle, and compartment to the lungs, keeping time on blue sleeper cars—Floating,
Deposited eels in a riverbank disposed from their jelly cells, as when glazing rattles in the casements
Of the returning rains—Aplomb swashes of the Kanagawa wave, after Hokusai (c. 1830) that braces the doors of The Willow Tea Rooms (1896-1917); contrasting
Its coal burning, white fireplace uncovered from a false door—This talk of a distant literature rests unopposed, on Zephyr laid paper beside the lacquered
Ink stone—Harunobu’s Fidelity (Shin), from the "Five Cardinal Virtues"(1767), for the seventh day of the World, collapsed then into an immigrant department
Office recalling the entrance of Herbert Read’s Surrealism (1936), with Eyeless in Gaza (1936)—Sighting the Usui mon

Myōken, the North Star; she avowed that Tuesday (1946)—Setting as a satellite in the right corner of her canvas, the mon
Of the bodhisattva, whose snowy exhalation rides the back of a turtle or dragon, to which is added / Samson Agonistes (1671); yielded, and unlocked (407), as the floating
Cirrostratus in the boughs of Magritte’s L’Oasis (1925); composed Pierre Bonnard’s marriage year—Cloud forms of saturated departments
Forming halos around the Moon, above the spa resort where thread was spun in the snow—By a laminated composite bow (W), behind the archer’s drawn target at the fogged casement—
Awaiting a sibilant password through gapped teeth; the shibboleth for a flowing stream, with the contrasts
Revealed in scores of the lacunar samisen, or the embellished cradle, La Cuna (1949), after two sons, and once again, the Moon is lacquered

In egg tempera—The Aleph (1945); peopled in a nutshell, and querencia of oxen, then to box-frame construction; abolishing vaulted heat escapes, and grounded with lacquered

Floors—Mackintosh Hill House chairs (1903); massive pieces after shōji screens, for the ballet à entrée before the cast-iron fire surround with the mon

Roses, de la cuna á la sepultura—Charles and Margaret Mackintosh worked in watercolor down from the Vermillion Coast, at Port-Vendres, and catchment of his ashes (1928); forming a vague contrast

To the swept soda ash to fix the Ojiya Chijimi’s colors, with pinions of window reflections floating

Into the deep harbor—The Night of the 8th (1987), or Leonora Carrington’s segue to a Japanese department,

Of traces of mineral lights, at the 23.5 degree analemma of the unfinished year, where the nethermost potter’s wheel fastens matter, beyond the view of the casement’s

Maple-viewing party—Towards you, stranger; in the Camellia Room we so often frequent, who gasps at the bands of the Milky Way outside the casement
As if they had been swallowed—Becoming one of the 20 volumes of the tenth century Geoponica, the papered lilies rooting from the swell of a sealed woman; or Chrysaor; here, in the gilt lacquerware—
Issued from a torrent of his mother’s head, with a white stallion—She, who would otherwise remain under cocoon, yet cannot disremember the département
Of Les Nabis, nor undermine the slant of light flecking the earthenware, and prospect of Bonnard’s spread table—Tomoe-mon,
We have already touched, in the Borromean knot, the Mackintosh rose imprint, in a second-long contrast
Coextensive, in the matrix of a letter (ב), and point of reference branded from the square Champollion floated

In his Egyptian grammar (1822)—Likewise contriving the pictogram of your teeth, in retreating advance of snow drifts, and set upon flares on a four-by-four tatami, on which floats her strange canvas with a lactating hyena—
Ossín, as if still lacquered with rainwater, and before being reduced to a departmental curio of Macpherson (1760s),
Whose name means young deer; speaks from your blue dream casement, to justify your devotion, of double gates compounded of ether, of a monocle of the White Horse, from which you cannot dismount, for more than 300 years—