Vol XXVIII, Variants of Dialogical Voices

—after Julius Hemphill’s Part 2

Perhaps a birth ritual,
here not truly here
in the ramification era of unprotected
harmony, pushbreathe version
of pre-life dancing, post merging
windy dialect brushing back orange
hair on oak’s relevant design.  More
than percentages, statistic design
encasing plasticized moments
relegated to positional highness
version otherness than experience
devoured bequeathing elemental
intent. 

—after Sonny Simmons’ A Distant Voice

Metastasis
discovery
pain
on whim never known when
digested passion regurgitates
swift, delicate wholeness.  Spoken
vowel timing, letting
latter verbs call toward front-side
delineation, outlining definitional
hearsay equaling ultimate danger
recollection forgets harvest of
a once-health reflection hiding now,
waving in facet of lowered casket’s
dedicated closure. 

—after One For All’s All For One

Hope
we see among the after-closed
concept of dictionary understanding.  Written
ideologies
fall
            from the often hierarchy of superlative
happenstance, gifted (selves) relate
rarely truly
                        finding
finite (fractioned) capabilities
alive and dedicated (selfish)
                                                            not
until the afterward realization
prior to the eyes’ infinite
seal of dedicated closure. 

—after Matthias Bergmann’s unknown unseen unsung

Whispers, the
massaging dialect
hand-holding verbs’
spatial inclination, the crawling
toward innate organs
inviolate prosper expanding
explanatory dialectics
dissolving freedoms’ fear of
blasphemous continuity, plenty a persona
abstract physiognomy
detailing an imagination too
abrupt sans death
overriding cultural mayhem,
plasticized burials of
collocational abjection
with fortified delivery of segregated
representation. 

—after Tatum Greenblatt’s Autumn Nocturne

Of orange—melancholic wish
reinvented tone
rushed pigmentation’s preconceived
beauty,
            though
in hanging ornamental poses
night’s blackened metaphor of
erasable night
highlights dominance of shifting persuasions,
night’s various species
wide awake at humdrum hours
holds elongated patterns of versatile lace,
            inviting
promotional acceptance:
wind’s winding hand
etches and perceives
silhouetted angles of 
necessary absence,
partial rotation of death’s
absconding moments. 

—after Freddie Hubbard’s Blue Frenzy

Circles
            cycle
taxing bodies
formulation-species,
distance, driven by
intellectual abstractions
their infinite collaborations form
            followed by
inherited summaries:
eyes
            dissect
bloodless remedies
into watching and revolving around
mischievous dissertations of
definitional freedom. 

—after Jackie McLean’s Abstraction

                                                Finality’s
reciprocal ending, the fickle hand-wave, exit

good(satire)bye,
                                                            I shall
endeavor to recall your
antelope gallop

                        next realization, perhaps.  Leaving,
anti concrete ability to become absolutely absent, each
leaver
            levitates above
heel/toe indentation            tattooing soil’s softened spine,

erasing
                        with controlling hands
                                                passively dancing
amid a twirling hour’s catastrophe of causation:

alone, alone

the distance electronically controls emotional doldrums,
spatially enhancing bodies of touch, a touché of negative
remarks, highlighting the imbalance of one’s drooping,
oblong forehead of physical nefariousness. 

—after Albert Ayler’s Our Prayer

                                                                                                                        Resembles
stairways’
                        reverberating echo
violin strum, peace foundation,                        ergonomic

striations.  Such

sound
            leaps
                                    from a tongue’s building reputation, intermingling
variety

with intuitive science

of the body’s
                                    verbatim aging; quiet

coming is evaluation,
our mirror of time reflecting leaping changes,
a flowers lean from vertical scent
blowing its air into the dissipating beauty of foreign
translation. 

—after Anthony Braxton’s Ask Me Now

Father
                        whispers targeted intent
into listening eyes of his daughter’s
translucent hankerings.  Digital’s now
combs back inquisitive demeanors, time in numbers
replaces angled hands
                                    sliding
clocks’ various physiognomies’
errant fulcrum
            balance
now stagnant, weighing surprise more
diligent
                        than octagonal math
stepping into question of
visible representation?

—after Yusef Lateef’s Purple Flower

Hearts wear
fences.  Sporadic
openings
rarely allow visitation from handfuls of
dedicated light, gifting.  Time does this with
augmentation of violent voices
disrobing each rhythmic piano key,
alarming with stealth
stealing until scars form
beautiful reminders of trampled barriers,
breaking into fractions each
living moment within cage of
protected existence.