A CARAFE, THAT IS A BLIND GLASS.

A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.

GLAZED GLITTER.

Nickel, what is nickel, it is originally rid of a cover.

The change in that is that red weakens an hour. The change has come. There is no search. But there is, there is that hope and that interpretation and sometime, surely any is unwelcome, sometime there is breath and there will be a sinecure and charming very charming is that clean and cleansing. Certainly glittering is handsome and convincing.

There is no gratitude in mercy and in medicine. There can be breakages in Japanese. That is no programme. That is no color chosen. It was chosen yesterday, that showed spitting and perhaps washing and polishing. It certainly showed no obligation and perhaps if borrowing is not natural there is some use in giving.

A SUBSTANCE IN A CUSHION.

The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable.

Callous is something that hardening leaves behind what will be soft if there is a genuine interest in there being present as many girls as men. Does this change. It shows that dirt is clean when there is a volume.

A cushion has that cover. Supposing you do not like to change, supposing it is very clean that there is no change in appearance, supposing that there is regularity and a costume is that any the worse than an oyster and an exchange. Come to season that is there any extreme use in feather and cotton. Is there not much more joy in a table and more chairs and very likely roundness and a place to put them.

A circle of fine card board and a chance to see a tassel.

What is the use of a violent kind of delightfulness if there is no pleasure in not getting tired of it. The question does not come before there is a quotation. In any kind of place there is a top to covering and it is a pleasure at any rate there is some venturing in refusing to believe nonsense. It shows what use there is in a whole piece if one uses it and it is extreme and very likely the little things could be dearer but in any case there is a bargain and if there is the best thing to do is to take it away and wear it and then be reckless be reckless and resolved on returning gratitude.

Light blue and the same red with purple makes a change. It shows that there is no mistake. Any pink shows that and very likely it is reasonable. Very likely there should not be a finer fancy present. Some increase means a calamity and this is the best preparation for three and more being together. A little calm is so ordinary and in any case there is sweetness and some of that.

A seal and matches and a swan and ivy and a suit.

A closet, a closet does not connect under the bed. The band if it is white and black, the band has a green string. A sight a whole sight and a little groan grinding makes a trimming such a sweet singing trimming and a red thing not a round thing but a white thing, a red thing and a white thing.

The disgrace is not in carelessness nor even in sewing it comes out out of the way.

What is the sash like. The sash is not like anything mustard it is not like a same thing that has stripes, it is not even more hurt than that, it has a little top.

A BOX.

Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle. So then the order is that a white way of being round is something suggesting a pin and is it disappointing, it is not, it is so rudimentary to be analysed and see a fine substance strangely, it is so earnest to have a green point not to red but to point again.

A PIECE OF COFFEE.

More of double.

A place in no new table.

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether.

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture.

The time to show a message is when too late and later there is no hanging in a blight.

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment.

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to.

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Companion Art: "Christ with Mary and Martha", by Pieter Aertsen

Tales are people who sit on the doorstep of the house of my mind.
It is cold outside and they sit waiting.
I look out at a window.

The tales have cold hands,
Their hands are freezing.

A short thickly-built tale arises and threshes his arms about.
His nose is red and he has two gold teeth.

There is an old female tale sitting hunched up in a cloak.

Many tales come to sit for a few moments on the doorstep and then go away. It is too cold for them outside. The street before the door of the house of my mind is filled with tales. They murmur and cry out, they are dying of cold and hunger.

I am a helpless man—my hands tremble.
I should be sitting on a bench like a tailor.
I should be weaving warm cloth out of the threads of thought.
The tales should be clothed.
They are freezing on the doorstep of the house of my mind.

I am a helpless man—my hands tremble.
I feel in the darkness but cannot find the doorknob.
I look out at a window.
Many tales are dying in the street before the house of my mind.

Companion Art: "A Couple and Two Children Sleeping on a London Bridge", by Gustave Dore

Glunk!
I toss my heels up to my head...
That was a bird I heard say glunk
As I walked statelily through my extensive, expensive English country estate
In a pink brocade with silver buttons, a purple passementerie cut with panniers, a train, and faced with watered silk:

But it
Is dead now!
(The bird)
Probably putrescent
And green....

I scrabble my toes...
Glunk!

Companion art: "The Garden of Earthly Delights", central panel - Detail Bird and Man riding a duck, by Hieronymus Bosch

"Plus quam se atque suos amavit omnes,
Nunc..."
Catullus.

You were my playmate by the sea.
We swam together.
Your girl's body had no breasts.

We found prawns among the rocks;
We liked to feel the sun and to do nothing;
In the evening we played games with the others.

It made me glad to be by you.

Sometimes I kissed you,
And you were always glad to kiss me;
But I was afraid—I was only fourteen.

And I had quite forgotten you,
You and your name.

To-day I pass through the streets.
She who touches my arm and talks with me
Is—who knows?—Helen of Sparta,
Dryope, Laodamia....

And there are you
A whore in Oxford Street.

Companion Art: "Madeleine, Monologue et 9 dessins", by Adolphe Willette

They all have tired mouths
And luminous, illimitable souls;
And a longing (as if for sin)
Trembles at times through their dreams.

They all resemble one another,
In God's garden they are silent
Like many, many intervals
In His mighty melody.

But when they spread their wings
They awaken the winds
That stir as though God
With His far-reaching master hands
Turned the pages of the dark book of Beginning.

Companion Art: "Angels", by Giovanni Boldini

And yet one arrives somehow,
finds himself loosening the hooks of
her dress
in a strange bedroom—
feels the autumn
dropping its silk and linen leaves
about her ankles.
The tawdry veined body emerges
twisted upon itself
like a winter wind...!

Companion Art: "Tableau abstrait noir et blanc représentant des flammes et des courbures", by Nadège MICHEL " Nadel " Dite