APPOSITIONAL COMPREHENSIONS

FELINO A. SORIANO
Appositional Comprehensions
Appositional Comprehensions

Felino A. Soriano

chalk editions
2010
 Acknowledgments:

Much gratitude to Peter Ganick for publishing some of these poems at experiential-experimental-
literature.

text: © copyright 2010 Felino A. Soriano

cover art © copyright 2010 Jukka-Pekka Kervinen
book design © copyright 2010 Peter Ganick

http://chalkeditions.co.cc

chalk editions is:

Peter Ganick pganickz@gmail.com
Jukka-Pekka Kervinen jkervinen@gmx.com
For mom, dad, brother
“Music is a language, you see, a universal language.”

Sun Ra

“To some degree, yeah, because I have to play a certain number of originals that might be
considered avant-garde material. I realize though, that only a few people in the audience actually
know what that music is, or understand it.”

Archie Shepp

"With certain groups, like Albert Ayler, Cecil Taylor, Ornette Coleman, and now my own group,
there is a level of playing which we try to reach which is the same thing that people do when
they do transcendental meditation and yoga.
They talk about "out of the body" experiences. That's what this music is. It's chanting; it's
meditation; it's yoga.
It's all these things. In order to play, something transcends.
Something happens with the physical, the spiritual and the mental state in which they combine,
and their energy is turned free.
It's a cleansing experience which in a religion they would say, "It's of another world." The state
I'm talking about even transcends emotions. It's a feeling of being able to communicate with all
living things."

Ronald Shannon Jackson

—after Satoko Fufii’s Flying to the South

Portions
become saddened
when left to discover their open eyes, singular. Partial
facsimile
desirous methods orchestrate manipulated
strides

held to hold together fractioned absence

through
bodiless adaptations. Southern
becoming
bolded language
used not with northern cotemporaries: thus
freed, thus believable why

ambulation folds downward processes

finding a fortune suitable to abstract
ingenuity.
—after Charles Mingus’ Moanin’

Such is wind’s opening

morning mouth, exhale platitude
circumstance natural as awakening’s
thermal discourse. Vermillion ceiling or
sky’s early dialogue of discovered
salutation, seeing porta of
nascent confabulation
occurring after midnight’s exuberant
lay-down mirror of fading echoes, finding
bodies of aurora masks
donning mood of recollecting mistakes from
previous entities born into
asymmetrical vexation.
—after Marion Brown’s The Shadow Knows

Which body’s leaving constitutes contractual

misfunction, silent in uprooting
akin
to the stranger’s smile planting seeds
into the later burgeon of memory’s senescent
garden. Apparitional occurrences, ghost lingo
follows behind necessary
finding of errant misplacement. Soon,
as death is the winding web
wrapping body’s misaligned vernacular,
shadow
of the positional sameness
reinvents upon whispering tongues of mourning’s
evaluating newness.
—after Larry Young’s Sunshine Fly Away

Dis
c
of win
d’s reverberating
fligh
t,

focused
on the pause delineation, pushbutton
era
ease
variance
semblance
boy to girl
run
ran

became?
motion series

high
|there|
fraction of light
binge-diving
an
gl
ed
sudden
night becomes
giant

eye of the earth-evidenced

shut.
—after Pharoah Sanders’ Astral Travelling

Modicum
aware, degrees debatable,

portion
of the passionate high songs sung
high, halo circling
rim of vertical species; verbatim

daily stars research topical sections

resting
walk-bodies (not, angels) winged maybes highlight
significant tightrope answers,
tilt
into celestial definitions of verbose cognition

diaphanous
b
o
d
i
l
y slide, mimicking
a
section of truisms
when
consistently ignored
becomes absent knowledge of a mouth’s speaking action, allowing
respeaking to define with
languid and impersonal
encyclopedic remorse.
—after Yusef Lateef’s Plum Blossom

Wears blood as veil on

copacetic bride, prejudice
toward delight in misunderstanding
crimson coat of elegant
function, finite breaths
apprehensive into totality’s
regret.
—after Eric Dolphy’s Out There

Vision, insidious
bare tree dichotomy:
clever
shadow-drawn diagrams
dictating various flawed splays

amid
perfect pause of a life’s burgeoning cycle, series
rebirth calamity unfolded
chaos
retrospect: an ax’s angled swipe
pinpoint thrust
impulse desire, death soon
lean
subsequent collection of a differing shadow
collected beneath ashen
body, no longer delicate.
—after Anthony Braxton’s Played Twice

Of Winter’s elongated thesis,

groundhog’s apparitional shadow dictates
silhouetted prophecy, body outline
protocol echo reunion spiral
return, elegant dialectic. Space
hands push into warmth’s cylindrical
membrane, revolving amid annual’s revelational relation,
finding in its eventual return, bodies of wholeness
smiling from the vantage of necessary
science.
—after Trygve Seim’s Sorrows

Personal wealth, abated

worth, connective dance in blurred
relation
scenic blunders
held by wishful hands to conceive and reconnect
with
hankering’s resolution of end’s comparable
fulfillment. Said though
to the self whose smile
has boomeranged dementia
cannot recall home of splaying lips
delivering emotional
echoes toward listener’s accomplished,
desolate attention. Alone.

Alone. Alone.

Trilogy of spiteful revelation

sorrow then, satisfied
the organic time of relevant position
positions self amid tense, terse
remaining
existence of rue.
—after John Tchicai’s Four Clouds Drumming

Tactile seams sewn, pocket-mold

clarified, tones of homochromatic silence
penitence to re-hold imaginational comfort.
Prior to abundance the long view of hope
held pause on an eye’s visceral elongation; up
looked the still of a shadow’s personal wait:
thus, could not comprehend such obesity of sound
hovering within a rhythm of painful articulation.
—after Fred Anderson’s Flashback

Mimicry of nostalgia—friendly terminology,

invitational prose
uttered
expedient cloth
covering with warming tones
avenue of remorse such memory hand describes.
Childhood
too,
societal creation of ‘teens’

years of maturation’s resemblance of manifold bouquets

ranging in scent some unpleasant in obnoxious odors. Private
emblem, etched
alphabetic
term
calling
toward the mind’s recalling
extracted fully
hand by hand by orchestrated heave.
—after Lester Bowie’s Rose Drop

Scent escape, hand

washed thorn
cut
from living spine of green
skeletal thinness. Curtain of vase of hand of plastic coat.

After
bouquet of beautiful moments
begin lean and
descent into browned once-red, affirmation calls attention:

shadow, hold your firm belief, paused movement

callus though now in death after life, once
you became causational smile atop face
of surprised understanding.
—after Roscoe Mitchell’s For Lester B.

Good man, holder of rhythm’s

horn of absolute timing,
catapult sound with
conversational holding, man, man, man
quartet of intellectual improvisation. Lester
your trumpet was body of physical revelation,
pushing forth executing fervor, fanatic
displays of artistic motions, heard, heard
atop lands of ascertaining splendor.
—after Arthur Blythe’s Sentimental Walk

Outside
earth has pockets of sedentary sound
unwound into sporadic splays of intuitional
welcomes. Walking
such pathways’ aggregated

thought
resembles
mastery of visceral illusion, a mother’s wake and hold
following
the death of her opened visual attachment

gaining by breaths of body-width portions, embrace

release now, return
shall aware my look into photographic
prominence.
—after Miles Davis’ All Blues

Much
leans
learns
from the aptitude of saddened occurrences:

existence
un
folds
in
to
portrayed dissections of

relevant misfortune. Encompassing each

limb-touch, directional-reach tethered hands’ innate manipulative devotion

responds as many tongues do

involving
learned language
lies of linguistic, egocentric magnitude.
—after John Coltrane’s Every Time We Say Goodbye

Air ruptures (bending bleed of catapulted wound)

linear contours (our shadow)
delineates, demands time away
from
devotional sameness, altruistic collages

happy
in the clashing of together-touching echoes

created harvest
grouped by similar salutations
given into each
aspect of our propinquity,

undisturbed.
—after Stan Getz’s Autumn Leaves

Rolled [edge]s
wrinkles of aged devotion, pardoned
after realizing
green only arrives, too appeases,
in the virtual methodology of
infant declarations. Orange skeletons
dusty brown of burgeoned, predetermined scant
living, wind’s
various hands
throw and tumble
destroy and contain
on the annual average of deuce-ace months
prior
to the dissipating heat

hides within
Winter’s forbidden mentioning of

of humanistic warmth.
—after Fred Anderson’s Timeless

Daffodils
manipulating scent, a
mingling with varied
violin-thick strings
wind plucks and dissolves
subsequent to a mighty hand’s
unveiling
imprisoned veracity.

A child’s episodic smile.

Reinvention,
surplus dignity, time
intertwining emanating function,
found when happiness becomes
accented circumference.

A mother’s devotional hand,

holding opportune exhales
her child geminates
into allegory of
changeless occupations.
—after Joseph Jarman’s Inheritance (Studio)

From the
cumulous reaction
gauged by the re-again dismantling of death-caused macrocosm, body

begins floatation occupation, rising

summary explanation, elsewhere

causational surmised
improper emotional graffiti
across the forehead of enigmatic debuts of
hankering for the alone-time

malfunction.
—after Marilyn Crispell’s Vignette 1

Bodies, blended. Too,

earth of eyes
manifest emotional connection
sans
clichéd opacity
of handholding, tongue touching
ideologies, sameness. They, three women.

Sit, stilled, your language of hush

levitates
within park’s unintended
watching.
—after Mathias Eick’s December

Crows’ clawing caws

bounce
echo-dance stylized
off
window’s murkiness of tone, timid
from annual shivers
proposed by
weather’s casual arrival, causal expectation
thus invited, unaware
wind of chilled vernacular
binds to and
controls

levitates and
demands
excavated recollections
Winter pronounces eagerly
with
elemental language of serial
comprehension.
—after Enrico Rava’s Outsider

Constitutes denigration though

humanized form of neon symbolism, flash
portend,
nightly whereabouts
unscheduled positional fragrance
wafting
onto
sedentary moments bountiful in eclectic eremitic hours

sought in the transformation of meditation’s glory, italicized

rummage maze unfounded
vagabond mischief untamed hankerings.
—after Keith Jarrett Trio’s Facing East

Ab initio
morning’s spray of enlightening angles
fumes
pilgrimage
cross-variation
disengaging
lock of my sleeping
obstructing vision. Outside
a
conversation of dreams: illusions
abstract particles
fulfilling whole dexterity
renaming such tolerable
machinery, laughter of humans

comprising variation.
—after Michel Petrucciani’s Home

Not
where the coat of my
exterior journeys is

nor
where the bed of my
night’s delectation resides

altered devotion this definitional collaboration

holding whole meaning of where home’s actual
skeleton ages with my following shadow,

this
place of placement’s elegant construction
is
near the resting body of her spontaneous
rest, the love of her need
houses all walls needed to retrace
physical commendation.
—after Chris Potter’s Vox Humana

Many revisions
to the human’s many languages.

Blended chants
love|devotion return
to my contoured
listening: waiting

coalescence of spectacular communiqué. Heard

I
whispered your shape
across the fogged angle of my onlooking
mirror,
your face a paused bouquet of scented adoration
arriving
predawn’s susurration of moveable euphony.
—after Eric Dolphy’s Feathers

Manifest juncture—awkward variance,

same-soul tributary
mirror dance, self victim-not yet,
yen to develop: positional aeriform.

Wrapped in language, misunderstood: missing

from the pastime of elegant mood swings,
devouring often aggregated ambulation,
distance, yes, the foray
into valued
articulating otherness.
—after Joe Lovano’s Cymbalism

Conjugated clatter(s)
hand milestone
rhythm
prolonged
respected hitherto
unknown celebration

based unbiased lean

inclusive desolation manifold dispositional
truancies
collocated amid winding affirmation, thus
anecdotal prosperity whispered
valuation.
—after Miles Davis Quintet’s My Funny Valentine

You wear my
envision for otherness’
aptitude
slightly staring around the neck near
my necklace gift hugs
pound of living understanding. I:
your now. I hear calling
your voice though, altered
wearing
pink warm smile a sweater of
organized cloth
hugging
too holding
your nearness as mine evolves
into distance’s visceral, covetous
come here’s.
—after Misha Alperin’s Jump

Bumble bee. Butterfly weave. Wave.

Child, searching, playing, alive. Audio

curtailed audio
whisper
slide
faint salt
learning
near architectural rust of
pier’s aromatic stand. Pigeon.

Personal attribute.

Pleasure, introspective
passing
portion of life’s
enigmatic sorrow, aware

begun.
—after John Surman’s Not Love Perhaps

Or
perhaps
not
à la mode love: magazine gloss
emphasizing
artistic
bodily curls
body atop body of alphabetic

formulations.
Love then, yes: not
the camera precise-
stilled version of physical prose: equate
what the turning hand
interprets
beyond eyes’ disadvantaged myth,
love
the fundamental warmth
unwrinkled
amid
wind’s delegated reposition of society’s
focal
misinterpretation.
—after Keith Jarrett’s Waves

Waves
welcome
shade
and
shape
unfolding
collocated
virtues
sacred within moments of avant-garde superstition. Said
of a wave’s ending close
against sand’s feet of tired explanations, a seagull
dives
into finding absence: the silver
swerve
of a fish’s dynamic
configuration
heals
the pending death of
balance, silence, avenues of trust unneeded upon
rearranged, devotional methods.
—after Anat Fort’s This Is It

: the memory’s
attenuation, grayed
through language of incorporated age, mind

malleable youth, performed

acro
bat
ic
ventures
solely
within solid manicured
environs
facilitating
methods to hold and behold watching
glances
from
deliberate braided stares.

Names
of syllables wind-west exits
eventual in delusional
tongues
calling through fear’s myopic understanding:

the body will bleach

using
versions of the outdated
to frame through others’ watching
body of once
no longer alive though skin’s
prism of textured scent
rising into the eyes
like
boulders of light,
causational realization.
—after Oregon’s Distant Hills

Resemble raised fists,

paralleling
anger’s unheard scolding
toward noon’s
overwhelming weight
squat-pushing
atop
bladed green
waving in fainting need
hoping
as does a missing child
for
salvation of embrace, contoured
bodies
featuring relief of unbiased

veneration.
—after Uri Caine’s Shining Trumpets

Unlike
the razor-edged grain
of rooster’s
alarming vociferation
reciting predetermined
prose of
dawn’s electric lecture

stating into squinting stares

morning must
become
structure of panoramic
phase, elongated.
—after Joshua Redman’s Unknowing

Rise
flamed
face

physiological haunting
heat says remarkable focus
from a voice’s bromidic revisiting strolls: Aeolian verbs
bracketed |control|

thereby
thorough
in prophesied
attempts
though to come
is the adjective
unable to focus
among the clarity of fashionable
remorse.
—after Cecil Taylor’s Unit Structure/As of a Now/Section

Of segregated portions
partial dialectic unbalanced foray, boredom
suspected culture relapse
finite, jubilation. Current
verbatim the body bounces
homonyms near descriptive
differences, acknowledging
rudimentary segments
become whole and illusive
near the tongue’s reiterating
boundless, minimum redemption.
—after Paul Motian’s Blue Midnight

Such

is fantastical drama
-tization, fortune-blend, verb/adjective hybrid
motivation of canescent rhythms

haunting

silent species of insomnia’s tattered

possession. Oracles

once named this night-name virtue symbol of

relevant episodic occurrence; therefore

with hiding shadows
beneath
worshipped
volition of episodic hours,
saddened understanding
brands with meandering heat
symphony of solid, reinterpreted openings.
—after Albert Ayler’s Nobody Knows the Trouble I've Seen

Or comprehends
the logic of an absent skeletal persuasion. Percentage

of vision’s elite myopic absurdities

relates subjective

definitional surplus—away

from the open hand worries of appreciated understandings. Drunken

conveyance the tongue
mangles unique elucidation

calming physical needs

to weep and succumb

directional to relevant expiry of beauty’s various

misconceptions.
—after Albert Ayler’s Summertime

Bouquet of bombilating wings

talk into the spiritual shadow of watching halos (vertically handheld)

manifest
upon redirected fantasies

man ambulates

of gifted maturation. Fire’s heat

hangs
more devoid of reconsidered
names
many recite into sleeping’s need
to reconnect rest and the
mundane pillow of insensate sides
wrestling with the open mouth
of incessant warmth, altered
seasonal visitation.
—after Contemporary Noise Sextet’s Unaffected Thought Flow, Part 1

Memory regurgitates
smiling bouquets of
past present-tense
circumstantial invigoration happenstance guiling
noise, hurried reinterpretations of epochal guidance
grazing mind’s section of closed retrieval, cut hands
cannot reach beyond now’s content episodic replay of
elongated happiness.
—after Keith Jarrett’s In Front

Renew, stare
renew, hear fog
climb into view desolate so

desolate in
contoured

feel
hugging limbs of forested bodies, bland then alive

as warmth of opaque
confinement holds and beholds

cultural newness
introducing
topographical nuances
sacred
among light of slanting humor
squinting
their condescending
morality. Live
alive
motion of embrace beautiful encouragement
salient togetherness of familial formulations:

enough
true-enough gathering of sound
unblocks
the
disremembering of visual farness, horizonal meaning
curbed by
truancy of needed resuscitation
hiding
found
amid
curled matter definitional pyramids base-heavy arch
leaping toward crown of halo-worn apex.
—after Kurt Rosenwinkel’s The Cloister

Hiding
behind
element of glaze
body, grayed
near apparitional rising
claims stares of curiosity’s innocuous
hesitation.

Blurred body, name of your clarity?

Who
upon the
one of your mirror
denotes
flowering merger weaving sans
hands of elemental fervor
body or plural of reactionary function,

embodiment of sustained abstraction?

—after Robert Glasper’s Maiden Voyage / Everything In Its Right Place

Light
I
whistle your numeric name,
hum the
shifting formation of shaped
consolation
abbreviated atop ground, wet
with whereabouts of illustrated arid
pronunciation. Gauging
by and of necessary hyper asterisks highlighting
mirages of halo-wearing clouds

all
is beheld softly,
sans foreshortened notion of fix, fathom: rename corporeal
expression
demonstrated
via hands of excavating donations.
—after Lennie Tristano’s Remember

the body
bridges emotional salutations. Of
remedy-based fiction
embracing dissipated countersigns fidgeting with
restless past holding nostalgia’s
skeleton
distant. Portions, the
whereas notion
truncated past into necessary halls of mind’s
overwhelming shelter

positing requested scented serial

movement, visit, return
among now’s catapult of
progressive domination.
—after Danilo Perez’s Overjoyed

Encompassing
written
sounds
heard of wings’ hummingbird rise
into
apparitional absence.

Blurred alphabetic spelling of awed reconstruction.

Her noise of smiling, morning

greet
body-spoken variant
disparate than yesterday’s version of
leaning
appositional fatigue.
—after Pink Freud’s Police Jazz

Culprit
pop
u
lar’s version of cultural catastrophe,
posited frequent

jubilation blindness sales, monetary mirrors

broken

unheard.

Jazz
I collect data of cuffed
sustenance
wearing my wrists
with
anecdotal jubil
a
tion

setting name and etched

conversational data
into
version of my preferential home
of safe, dramatic

demonstrations.
—after Contemporary Noise Quintet’s Evil Melody

Claw
move
or
divide moment’s ability to visualize
rudimentary clarity. Façade
focal

distributional wisdom. Of wings

wearing wind as alabaster shawl, comforting. Hypnotized

sense of proprietary function, melodious hands have

woven

voodoo portion of now’s invisible declaration:

capture, comprehend

thus
your delineated focus
becomes
hardened but whole

a
delicacy of subjective reformatted taste.
—after Contemporary Noise Quintet’s Nautilius

Resemble
such proficiency of sounds aromatic
delve
say
understanding tongues of twirling mastication. Near bottom
of topographical blur between

system of drenched ventriloquism, spoken of

sans legacy of motional monuments

portending serial noise of crash and causational

fear

fundamental reinvention of self among legacy of same-size

erudition.