It was in the house of morning
& evening—between the glass walls—
steel for the memoir. Let us say
beautiful comes later in pictures. You
become important because you become
decorative. You meaning the idea of
you.

                                          *

Write a definition of structure or
a list of furniture.

                                          *

The road traveled like the floor
buckled, opening as a prayer book;
beneath it all there’s a haven or
lawn & if you ask it to blossom, it
might.

                                          *

The profundity of nothingness
is the emptiness of a sink.

                                          *

Think of how all houses are
crucibles of loneliness anchored
to the landscape—an explanation
of planar relationships: doubts
filling space.

                                          *

Chairs in the sun are opaque,
& constitute a form—how some
people are exhibition, bodies
a framework for a body. 

Conceal—meaning privacy; meaning
fence; meaning hedge; meaning glass cage.

                                          *

If agreeing to retreat,
then, a house is a theory
of unity, some degree
of museum. But what
to display—a storm or
a sanctuary? 

                                          *

The paved path was evidence
of life, a project of endings that shears
in the way memory would.

Even clothes begin to picture
an architecture & pictures
prove some living
happened.

Text is adapted from: Friedman, Alice T., Women and the Making of the Modern House: A Social and Architectural History. Yale University Press, 2006: 127–147.