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Mirror of Articulated Wanderings Felino A. Soriano


The Red Ceilings Press MMX [rcp 5] http://redceilings.blogspot.com


Mirror of Articulated Wanderings

Felino A. Soriano


“I’ve found you’ve got to look back at the old things and see them in a new light.” John Coltrane

For Deisy, Angel, and April


—after Charles Mingus’ Self-Portrait in Three Colors 1. I’ve devoted breathing in variant exhales rhythms unfolded and now, conform to a new method, italicized 2. Devotion done and my breathing inhales maturated concepts whereas priorly

a pivoting mention of hankering anew

never became fabricated materialization thus the mind, advanced, the body, stagnant. 3. Now, aged and near the facial wrinkles of a lake in full-body ripple I’ve become with positing physical devotion: surroundings of the envelope covering my eyes’ visual dimensions questions written on the mind’s aging table blows with dusty recognitions


a person of distant pageantry, desolate, mistaken full of imperfect symbols reactions bury and rename recollections.


—after Thelonious Monk’s Monk’s Mood

Ours never different amid creation-process protocol. Perhaps when confirming love’s devotional mentions, the her within I creates new syllables synonymously paralleling the exact emotion creating curved lips’ u-shape mention, walking to preferential method of mentioning joy what reclaims most recently her walking into sight’s various contours outlining spontaneous geysers’ relevant ebullience, vigorous caption of an everyday attachment.


—after Muhal Richard Abrams’ The Harmonic Veil

Worn across spectrum of Winter’s ostentatious wind drawing abstract renditions of alphabetic coolness across erasing blends of dirt, symbolism. In drumming, with drumming hands snow becomes habit of falling items, fingerprinted differences beautiful only to the watching eyes’ curious adaptation; thus, rare, rather, theologian in happenstance collecting faith in altruistic warming, donning, like man sweater of fashionable colorations, austere toward revealing face of distant understanding, appropriate constructs of logical conceiving.


—after The Vandermark 5’s Pieces of the Past

Reinvented, say, undergone the already surplus of society’s transformation, say, the colored hair highlighted with finger-width contracts of brief-life lighter tones, say counter to the version intangible beauty;

the drooping eyelids of vacationing youth, of imagination’s echo of physiognomy’s

of newness’ physical reconstructed hankering, the body’s self is among the self of anti facsimile, for within reasonless logic used to gauge victory over aging’s often brittle unwelcoming, the body becomes simple concepts of mathematical truisms, subtle but ambulatory toward eventual freedom of life’s disastrous decisions,

death.


—after Sun Ra’s Spectrum

Delivered whereabouts finite repulsion concise privacy thought symptom alleviate persons from delicate arrival freeform momentum demasculinized hierarchy. Ends begin with silent screams otherness other end-heard indeed, irrelevant among spatial survivors landing upon needed semblance circulating passion’s outsider orchestrated inclusion.


—after Woody Shaw’s Theme for Maxine

Of pageantry, silhouetted in silvery slants of a mirror’s most intimate demarcation. On flame, fragrant even in the shadow of your antiquated leaving, I hear in your absence, steps toward my controlled embrace, vocalizing wings, mimicking want and physical release, that of impatience transcending the face falling into tears of compassionate insinuation.


—after Linear B’s Improvisation 2

Lateral logic reasoning manifest, mild cleanser (memory, reconstructed) clever bifold tone of cloth sheer cotton sewn over over-loud mouth of exquisite curiosity;

rearranging a verbatim dream, concise, ergo malleable interest in imagination’s mythical hankerings, muted, albeit briefly, tone, of itself a superimposing spectrum laughing into rhythms of lackadaisical life, altering heyday of neoteric spontaneity.


—after Linear B’s Improvisation 1

Muted. A white, architectural homicide eccentric residue auctioned sustenance rediscovered building into the belly of misfortune, regurgitated correlation. Life such as this, monetary gamut inconceivable spectrum: of wholly holy, the interpretation here writes of stench and imbalance, that of poverty between golden lines of ostentatious whims of pecuniary motifs.


—after McCoy Tyner’s After the Rain

Night, yes, stilled onward volition open end greeting darkness backs away drawing shape of silhouettes never the artistic version or abstract fathom comprehended solely through imagination’s filing composition. Yes, wetness involved, bouncing short shafts of liquid tumble toward awaiting hands of relevant bodies, those in need and possible prayer of indeed highlighted acceptance: burgeoning restitution.


—after Horace Silver’s Peace

Eyes, a remedy. Onlooking boredom, supposed absent brief interactional placid discovery, revolt ending, rise of passive concepts, rivaling painful scream of aggregated menace, though the opposite in exact regurgitated purpose, causational tranquil whereabouts construed, ineffable subjective isolated vestment, clothing continuous searching of episodic silence.


—after Miles Davis Quintet’s Freedom Jazz Dance

Asylum: incorporated spectrum wind-blown tunnel of tubular glass sky canopy semblance a reenacted revisit, many days’ majestic many-fold image of such monotone mirage winged math aerial new year of feathered isometric lines referential objects on canvas’ many lucid docile interpretations.


—after Bob James Trio’s Lost April

Pink of her alabaster wardrobe, worn on dainty wrists wrapping limbs of windy movement loosely amid splintered thoughts of hankering and radiant stimulation. As with many eyes of nonfocal dexterity, winged hours dissolve into a beautified dissipation, hanging onto ceilings of a sky’s muted moving forward.


—after Chick Corea Akoustic Band’s Autumn Leaves

Blurred upon chaptered falling, pages prophecy, dilapidated leans, death wide unfastened, veined. Fulgurous orange blindfolds, grasping mayhem of unclothed pieties. Discreet until piles develop abstracted mounds of a lawn’s crunching biology, hollowed continent airborne, virtual paradigm death succumbing age, populous indentation.


—after Dexter Gordon’s I’m A Fool To Want You

And continue the infinite planting of stillborn seeds into the palm of your callus inattention. Vulture of I-remorse (rarely), readied by emotional myopic inclinations. Of when the wind squeals and names the echoes of our arguing pastime, flowers bend into death displaying misfortune of symbolic cliché, wrong time wrong place. Active, we erupt mountainous spontaneity, outlying stares intertwine more readily than death, the soon of us, decorated absence and conniving proclamations.


—after Francois de Ribaupierre’s tune 12

Beneath windows shadow-dance softness serenades bladed green of grass’ silent watching: snail’s contoured swirls layered on fragile home of fingerprinted difference slides belly-slick motion reacting to light’s various entangled vernaculars, depicting dialogical confusion among the calm excavation of unseen, supernatural rhythms.


—after Sam Rivers’ Earth Song

Mantra chanting cymbals unusual brevity high into the inverted chromosome of horizon’s bleeding closeness; current echelons vary on hyper rhythms bounce, persist, pleasant finding, boredom inexistent. Cued, as day’s mid-day meal on an hourglass’ elegant timing slide, revolve and unwind mayhem, the lyric of a wind’s whispering hands slightly shaking an oak’s resilient gnarls unnoticed by the stapling sound closing off visions into adaptation’s multiple confessions.


—after Tony Malaby’s Gone

A dandelion’s thinning hair wind hollow torn from the threaded spine holding malleable directions hesitantly still as the weather of a losing moment decides upon degrees, which angle to articulate ascent, splaying apparitional parachutes into diving retrospection.


—after Don Cherry’s Brilliant Action

Focused zoom, central curiosity flight’s amazing gradation hieroglyphic Z’s naming need to rename miracles upon a land of monotone discover, indecent paragraphs atop grounds of distinct misinterpretations. Here the hummingbird’s gallant invisibility, wing stutter valid amid glowing light time section of day’s obscure muted volumes. Watch such speed of accelerated bequeaths priorly before unattended by broken eyes unhealed through same-tone values of indifferent modes of translated tedium.


—after Pharoah Sanders’ Love

Misleading verb of neoteric misuse. Symbolic cliché of red rose skin, outdated. Serenades under canopy of windowless rooms, dining. Dialectic concerning versions of contesting truancy of emotion. Comparisons to the breathing past, embraces and softened levels of lips, mislabeled. Love: Avenue often of one-way travel, tailgating promissory relevance of makeshift desires, doubting constructs of visible and intangible collisions, corrupting peripheral and acrobatic eye sight of delirious understandings.


—after David S. Ware’s Logistic

Rain

following the wet,

widened

chants abbreviated names on angleless slants, aquatic needles puncturing soil and grassy bellies of tortured dust dry land lullabies hearsay prophecy seven days from present fortune, dictating then will be the now of returning dissipation, much more prevalent than day diving throat of night’s amorous appellation.


—after Dexter Gordon’s Stairway to the Stars

Tonight a continuum of cyclic morals and delicate arrivals, moon dons her pearl arrangement of corresponding necklace, spiral bands of dangling earrings. Earlier than the previous fortune of seeing her blaze, night opens ceiling of hallucination interpretation highlighting too, the silk gown with tail of foot-touching soil, bridging silence of shadow and sound beckoning the eye into the marvel facet of empirical dissolution; alarming with a synchronized section of vocal manipulation, watch watch my movement only fades into dissipating memory.


—after John Coltrane’s Spiritual

Violin ricochets constructed melodies devoid of fashionable hands manipulating musical direction. This violin heard and discerned rudimentary sense-oracle, somewhat prophecy delved into by soothsaying quality of hyperbolic guessing landing on avenue of time-fractioned visibility ending elsewhere behind notions of valued society understanding artistic remedies heal and benefit social memoirs distancing bodies from bodies and the visual voice condescending through machete disposition, impairing and injuring that of innocence of founding logic within ratios of sound ergonomic to the disease of misfortunate misleading, tangible disassociation.


—after Miles Davis’ Summertime

Collages, now. All angles. holding imagistic collaborations of birded nuances with serenading dusk’s soon after arrival.

Humid glue

overheard crickets


—after David Murray’s Dream Sequence

Before the lids of my visual tools became symptoms of night’s tattooed permanent tiredness I watched letters form above my inadequate reach alarum screams somewhat begging for touch, proper humanized touch. Unable to cradle I chose the sole flower royal within soil’s proud-parent positing held with long range dexterity scented species of petal flaking scents up up unparalleled dichotomies touched forming torching similarities: mishandled egocentric esemplastic.

by mans’ various

two


—after Joshua Redman’s The Deserving Many

Unlike clichéd verbal acrobatics stating few deserve the accolades of various tonal prophecies, splayed virtue intermingling promise with denial’s turned ideas watching smiling approximation morph into sporadic sustenance qualified belief of aggregated elation. The burglary of bullying species needlessly detect fascination with uncharted cultivations, the seminal understanding of callused disregard, holding hands of human sadness, carrying emotions into distance of death’s formidable detection.


—after Dave Douglas’ A Single Sky Watching Z’s fall of high tempo, electronic architecture, leading landing leveling body-mass products contained priorly among an agitated blackness causing trembling species with achromatic fears looking into awed upward strangle on isolated meaning, there, gorgeousness sans elevated contours of hips and degenerate outlooks of au courant naked elemental hankerings— ascendant lighting various bodily positions needn’t sense of infinite flame as scars from freelancing lightning form across psyche of admired sequence of dedicated light, focal delineation determining subsequent definitional myopic appreciation.


—after Enrico Rava’s E penso a te (And I think of You)

Because the afterward of photographic silence (too, embrace catalogs existential ascertaining) outlines specialized yen containing listening to the finite memory I hear of your body’s still warm reflection leaping from the eyes of my figurative unbalance.


—after Booker Ervin’s A Day to Mourn Crevices arching high into a spatial construct of sky’s elegant pocket, fall and glide forms death guide read on visual delay sporadic visuals posthumously granting curious understanding, following a last exhale, portion of kinship violently unaware.


—after Tina Brooks’ Street Singer

Of a parrot’s glaring call her wardrobe worn against skeletal austerity resembling creative mischief a mind believes as critical consideration. On Main St.’s armpit struggling ruby lips blessed back when defunct resurrections arose only partial paralyzation succeed with overworking songs a clock’s ticking circle bring back resemblance of a morning’s written reflection, the standing portion of a potion’s escaping virtue, adrenaline’s whipping into ambulatory frenzies.


—after Branford Marsalis’ Gloomy Sunday

Terrace-high emotion saddened drop, temporal temperature, legacy of the self’s center broken contour, threatened physical disaster. Awakening, the flower’s shadow crying into vase of dissipating clarity. Limp movement, air’s stinging breath oxygenating patterns of an hour’s uncertainty. Orbital alterations transforming faces, alive now deceased, ghosts of frequent dimensions rearranging partial clearness, fog of sadness will rise into erasure, promised of the healing time spoken by mouth’s unaware of psychedelic clichés.


—after Scotty Barnhart’s I’m Glad There is You

Not the au courant nicety, phrased bouquet-delivered to the wide-hand openings of humans’ desensitized accepting

to the winged marvels miracle-dance aerial variant angled gifts allowing eyes to follow warmly, depicting familial basis for beginning anew, photographic stillness still relevant among those of the wandering, unresponsive species.

but


—after David Witham’s The Circle

Something arranges self of selves, numerically controlled, counter-spatial columns atop each of antagonizing memories. Semblance blank, not of prior commencement, newly fathomed found articulation constructs arranged beyond compromised values of esoteric control.


—after Benny Reid’s New Days

Spiraled compensation: warm foundation envelops collocated time with eyes of watching sacred expansion draw prosodic music into a distance higher than ankle-deep understanding, commonality. Neoteric each midnight restoration delivers to the knowing monuments of recollected landings specialized remorse constitutes awareness among the findings now has dissipated, wholly.


—after Dave Holland’s See-Saw

Here flying mine external minority expended present finalities overcome overheard running landing among wildness, reverence for desertion prided on realism’s catastrophes and evanescent wandering.


—after Sam River’s Ellipsis Of man then, of emotional gathering — of land then, of relegated virtue — of both then, of mutilated personas, those of personal implication, delve a dive introverted mirrors wear an eyelid’s closing best whereas comparison to opal interpretation steals the jewel manic from heights detaining sanity’s helter-skelter code of unobstructed language.


—after Miles Davis’ Blue in Green

As area of darkened sameness settles, hovers in platitude of daily visitation the eyes, now, catatonic versions of episodic revive lay against skin warm yet desiring transformation of rest’s understanding marvel. Eyes of million days construct and alter their bodies’ analytical savoir-faire, symbolizing metaphor and copacetic hankerings mirror the mirages of collaged reconciliation: errors, prior to the sleeping fathom of night’s organic coming, dissipate into the twirling apparitions visiting within dreams’ altering minds’ chemical landscapes.


—after Steve Lacy’s Bone

Stirrer of joint and ligament, elongated metaphor of masticated logic; breaker of hopes’ athletic fundamentals, leap disengaged upon a landing’s focal broken mirror, speak into the hearsay of prophetic understanding, pivot, lean, reacher of relevant facsimile of thought: When will healing rename the presence of constant agitation? When?


—after Paul Bley’s Started

Not rain’s angled carvings into soil’s naturalized humidity, this brand of beginning finds delight in hiring self displacing need of outside fulfillment, engaging hand within hand nearest revolving visitation. The started becomes expected, as in breathing within awakening to the interior silence of a bedroom’s darkened funnel. Outside noise starts with thrown light from passive stars lending yellowness of a canary’s blinding flight heard, though through the whispering reality nothing absolutely ends, especially through death’s burgeoning example.


—after Alexander von Schlippenbach’s Past Time

Run the lateness of you bleeds from wounds of self-facilitating volume. Gingerly aware temporal anxiety hides within crevices of your mouth’s timid extraction. History yes, haunts the mouth of it waits for the momentary lapse of logic’s multilayered aneurisms.


—after Albert Ayler’s For John Coltrane

The mentor satisfies distinction, mind of another’s focal demonstration attempts echo of emotional veracity, partitioning sound from sound and the belonging creators positing such fervor. Equality can exist, often does not, in the mainstream understanding of equal demonstrations. Yet, in the jazz vernacular of differentia proposing this for them resembles bouquet of abstract and overwhelming color, never to succumb to the fading reality praise exhibits when the legend’s steps lead them into death’s absolute otherness.


—after Jason Moran Trio’s You’ve Got To Be Modernistic

Envisage oval contour of an opal’s illustration drawing patterned gloss outlining differentia versions of glass’ shaking shimmer silvern, solitary pretty rendition of a remake of vision, particular preconception. Fata morganas portend reflectional disparateness fondling minds and fingering systems of relative devotion towards elliptical versions of neoteric stylization.


—after Cannonball Adderley’s Somethin’ Else

Alternative version, finite option gather by hand immediate alteration of philosophical counseling. Purchased by the weary version of a viewer’s gorgeous blur, an otherness, developed near that of influenza’s personal dedication, conjuring within vitality’s multiple shapes and immediate morph of specialized reaction —surrogate or genetic compliance, holds amid subtle realization, partial now is the fundamental reason of seeking totality within a body’s supplementary demeanor.


—after Linear B’s Opening

Voices remade to resemble alabaster’s toneless features disguising anger’s rushing push dissolved emotion au courant daily imposition made into fractioned existential occurrences, saddening the twirling tongue prior to limping into sleeping malfunction delivering to the listening’s careless disposition untruths and mysteries sliding the veins of secondary’s physique hiding within dismantled verification.


—after Chris Potter’s Morning Bell

Arose in the awakening fashion of rising math equaling diversions from night’s impeccable hold onto the echoes bodies pronounce underneath hectic gaze of melancholic weariness.


—after John Hicks’ After the Morning

Noon’s high held hands, northern freedom pointing excavation cuing birds’ exalted proclamation. Warmth now, warmth now opening movement among beetles’ quickly dancing into directions eyes cannot control within distance and focal experimentations.


—after Joey Calderazzo’s Sea Glass

Mosaic of mirages swing on singing wind’s rhythmic evaluation. Withstanding various holds of maestro crossing patterns, musical dexterity controlled cautious melodies of automatic experience, finding within weary extravagance satisfaction, various miseries interpreted as feeling, movement along the reeds listening to ospreys gallop into illusion.

sounds of


Biography Felino A. Soriano (b. 1974), is a case manager and advocate for developmentally and physically disabled adults. He has authored 26 collections of poetry, including “Construed Implications” (erbacce-press, 2009) and “Delineated Functions of Congregated Constructs” (Calliope Nerve Media, 2010). His poems have appeared at Calliope Nerve, Unlikely 2.0, BlazeVOX, Metazen, Otoliths, and elsewhere. He edits & publishes Counterexample Poetics, an online journal of experimental artistry, and Differentia Press, dedicated to publishing e-chapbooks of experimental poetry. In 2010, he was chosen for the Gertrude Stein “rose” prize for creativity in poetry from Wilderness House Literary Review. Philosophical studies collocated with his connection to classic and avant-garde jazz explains motivation for poetic occurrences. His website explains further: www.felinoasoriano.info. Felino A. Soriano felino@felinoasoriano.info www.felinoasoriano.info www.counterexamplepoetics.com www.differentiapress.com twitter.com/felinoasoriano www.facebook.com/felinoasoriano Contributing editor, Sugar Mule www.sugarmule.com Consulting editor, Post: A Journal of Thought and Feeling www.postjournalofthoughtandfeeling.com


The Red Ceilings Press

MMX [rcp 5] http://redceilings.blogspot.com

mirror of articulated wanderings  

by Felino A Soriano

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