poems || Felino A. Soriano

 
 
Various Tessellations 10
 
—after Robert Glasper Trio’s Mood
 
 
 
Apparent remorse
            the
spinning language of octagonal connections,
                                                                                                syllables etch into
                                                sporadic fulfillment
answering collector’s modulations and
 
emotional friction of spatial recompense. 
 
 
Various Tessellations 11
 
—after Wassily Kandinsky’s painting, Composition VII
 
 
 
Occupied space, the inexorable
            inversion (comparable oracle of desolate disbelief (comprehended, Socrates))
 
                        funneled versions
too, of
                                                                        nonsensical pathways jammed into
                                                disregarded fathoms’ self-portrait denial of
 
                                    syncopated heirlooms left of dust-etched fingering histories
 
                                                                                    whose hammering, helix remorse (inversion echo)
 
                 sought demeanor though damaged unconditional
 
surrendered vacuum of solid pretense, afterward of logical faith
 
portends then
                                                            soil into hygienic altering of the hands’
division of forthcoming architectural                                       synonyms. 
 
 
Various Tessellations 12
 
—after the moment I interpreted sound
 
 
 
Music, though unyet dimension.
 
Callus
into mind the
                        sojourn altercation immanent dialectic twisting gnarls of
           
                                                            relayed inconvenience:
 
questioned personal
qualitative persuasion
 
such force then softened removal of opacity’s clever constant covering of
 
the mind’s allegorical disposition.  My
                                                                                    rusted feet began their
 
swollen happiness.
                                    Merged. 
 
                                                Slices of crossed hallways, eliminating illuminations of the
others’ vocal definitions of
articulated callowness. Subjects identify relocated habits.
                                                                        Visions.
 
Bridged improvisations, burdened empirical newness
                        now and
nuanced renditions of vocalizing entities crisscrossing momentum of gradated
 
                                                            affirmations, squared. 
 
 
Various Tessellations 13
 
—after Duane Locke’s poem, SOUTH WIND
 
 
 
Interior fear composing
heretic
composure of nihilistic virtues,
compound modulations
            sway
sing
            endeavor
                                    trilogy of saxophone’s battling
personas:
 
                                                            rhythmic interpretations of
                                                stylized self against
                                    silent chambers
containing unyet interiors of decorated mirrors. 
 
 
Various Tessellations 14
 
—after Friedrich Nietzsche’s quote: “I do not know how to draw any distinction between tears and music.”
 
 
 
Fortune the
            inherited realism of bountiful resuscitation.  A burial of branded fulcrums
                                    isolate swivels amid accurate depictions:
 
of the hand
            the hand of needing momentum to
                                                                                    aggregate freshened soil of time’s
                                                            succinct diversions
                                    cultural dependencies
            sedentary abstractions
 
cultivating pluralized synonyms and
                                                                                                mobile readability the
                                                persuasion insists, depicts.
 
Sadness, nor the positional curtails of rhythmic misery
supposed in the fabric of skeletal composure
                                                            does personal compartments of
vocalized inheritance of musical
 
incarnation.