XIX. La chambre [est ensoleillée]

XIX. La chambre [est ensoleillée]

Her scalloped roses, the modern consonance of their near-infrared left
Longer, then wooden, incurving of watermelon radish—Calder’s Nénuphars rouges (1956),
Another éolienne fixed against the surrounding void—Scoring to retrace
The experience, of Anne Brassey’s unmoored December (1876) on the Sunbeam—
Samuel Palmer’s constant marble in the mackerel sky's heavy, confounding
Nuclei, after Calvert’s The Chamber Idyll (1831), for a hole in the network where one takes

Hold—The penned flock, the bride, the vapor of restored Palestine; paths taken
By the Geometer larva on hindering knotweed—A.S. Byatt’s The Shadow of the Sun (1964); left
Wing, Julian Barnes’s Staring at the Sun (1985)—On the communal green confounding
Insensitivity to one situation, of wanting the reverse—On tire à boulets rouges
The outbuilding of the tennis court fractured by artesian wells, the upskirt mishandling retraced
Of being a category, the holding pattern of 19, when a body most resembles Ernest Henry’s 2-Litre Sunbeam

Grand Prix (1922) mated to a three-speed gearbox—Direction of four-wheel shifting the sex-hyphen as the sunbeam
Emerging from cloud cover; spotlighting a corner of the orchard for the fall burn, and taken
For Bruckner’s Locus iste (1896)—Andre Breton’s (b. 19 February 1896) chapter in Herbert Read, retracing
The movement; Leonora Carrington read at 19, where, a thought of a blacked-out house; inside, coherent life continued—Left
With extreme reluctance, the deific proclaiming itself in the photic sneeze reflex confounding
Henry Green’s her dark body thrusting, then as if she opened the eye hole to the furnace (1946)—C’est la lanterne rouge;

Self-contained, a way of taking possession of the bright things seen, and signature of local unfolding rubbed with jeweler’s rouge—

Fleeing her father’s home with his idols, Rachel fitted herself into the angles of Jean’s back, apart from the sunbeam
Of the bedside lamp; yellow, burnt twice—Peter Hughes-Winterton, solid and confident above her and her slipping feet, confounded

By Oliver's reentry, of a white rocking horse; a horseshoe in 19 diorite pieces, with its human vacancy taken
For visual insistence—Oliver’s overarching for Lawrence, conceives for her, every subsequent nuclei derived from this one original by which Anna retraces
Her intended flight, and scene of a major retrospective, to Mexico (1960)—Kierkegaard’s Immortality is not a learned question (1846); left   

The example of Caroline to the eggs, cracking them into unbelievably even halves, sliding the gold left

Unknotting the adhesion forming, the wire of the electric fire grate attaining the hearty rouge

Of coal-stoked domains—Calder’s sheet metal, rods, wire suspended in that ice-cream cone of a building (1964) retracing

Memories of the scraped fish skeleton; on another day, the ingested beach glass and plastic rings—A mote in the sunbeam,

Coleridge’s disquisition of Opus Maximum (1834) in the pioneer program confounding

Immortality's scattered stones on the walls of the forcing house before Jean and Gregory’s hypoxic sunbeams are taken

For weariness; all their opinions unearthed—Henry roving in the incandescent orchard taken
From the writing that day; suggesting otherwise, from the black tail of the spinal cord left
No expansion of time—TAT, which stood for The Absolute Truth, as the nightshade under the tablecloth confounding
The vital question; incubating it in a cryptoporticus of Ab Eo Quod (1956), le fil rouge—

Black, the catalytic leaf in the crucible bottom rubbed of its oxidation, where the rose attar retraces—
The unseen log fire, flaked pink, for a moment, and blobbed suddenly into her basin, of egg tempera, mixing sunbeams

Taken from Séchan’s sunbeam on foil, the precarious glass escaped, by the gray cat, returned—
Confounding a succession of pets, the rounds of a future Histoire d'un poisson rouge (1959)—
The work until then preserving this blind spot, retracing the shadow’s tendons, from the room looking down to the window.