XIV.
WHERE WE SEE
THAT IT CAN ONLY BE THE END.
NANA IS SOLD AND DIES.
Before that car turns the corner
of similar streets
identical streets, we have time
to say it,
like it no longer exists under heaven
in the studio-world
so true, so truly Parisian: a wall
a gas pipe,
Suze, a colored box
in a thousand grays
the pulp of life where nothing moves
anymore (or again) :
asphalt waits, the faded shadows
unstained
the decisive instant slips and hisses, will say
before his finger
of Pernod the poet illuminated by
street lights.
He himself is silent when those arrive
who will settle
Nana’s fate, two black cars.
It was time.
The cars that humans are aging
faster now
first with Nana and right
away another.
This place is really a filming location.
She wants Him 2.
Him 1 no longer wants her but her price
obviously
interests him. A solution would be,
of course, substitution, Him 3 (whom
we see in the other
car). But not for her, who is
too much in love.
Men turn their cars around
the motor isn’t
cut and for a long time that is the only
noise you hear.
Everything turns around Nana’s price, im-
peccable cut
of sixties hair that endows her with the age
of the car
of Him 1 and of Him 3. Then (finally!)
gunfire.
One and the other, indistinctly
at the end of a
dialogue put together precisely
whose tone rises
gradually and in proportion as the object
of their exchange
empties red and blood and all
use value
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