Just an object in wan light and a voice that calls her, from her place, she, at her window to see from her window, calls him, moves to the side, framed fearful at the thought of noises below, searches or looks or calls, she, standing on the side to see without being seen, at the call, she, a little more retreats more into a corner, leans against the wall behind the curtain that she pulls with her hand, from the window towards, throws a pebble, clinking again echoing the swinging poles, advances toward, tosses the pebbles to the ground, shakes the glass door again echoing the shut door while she, at her window, passes rapidly in front stops and takes off again in reverse at the least noise cracking, asks, stops suspended – each element speaks a premonition formal or thematic at the announcement of war, or likely war. What she looks at fixated one who arrives ascends, from her turns away, stops, goes when, in the grass, rolls, detaches, holds, fixates on, looks, observes, one, at the audible background noise, bits of conversation, murmurs or looks up in the air at the sound of four, follows the movement of the eyes, looks down, takes off again towards, is an ambiance rather, toward the music goes, to go in where, stops on the threshold, of two, one looking up from under, turns away, looks, stops at her who, on the threshold, seems about to advance toward, mimicries of music, from a courteous hello to her hello to her on the threshold still, turns back and leaves, to both of them, murmuring barely audible, distinguishing barely seized seized, to her sitting finally is a pause stops – it’s about topography by clues, about multiple views of the city, of its transformation, of its latent state. (Translated by Carrie Noland)