Felino Soriano

Approbations 25

—after Jacky Terrasson’s Autumn Leaves

Correlations

all of the known unknown annual orange visitation. Branch, bounce, wind

copacetic

deity dancing prior to the coldest breath of earth’s unearthing spinning distance.

Wandering

among into cultural equations, balancing on equator’s highlighted rope of tightened vision. Leaves

why we wonder about crust

formulation infection tearing against outer membrane

your skeletal exterior. Not long ago, your birth was chlorophyll filled

laughing; now, you’ve aged, antiquated brittle

cannot engage much with levitating movement

thus

your falling is affirmation of aerial demise, demanding focus

sustain into night’s usual ambiguity according to day’s

lighting and various displays.

Approbations 26

—after Gonzalo Rubalcaba’s Here’s That Rainy Day

Gray, gorgeous. Saddened

by the usual lean of dispositional leverage. Flames

seem far away, afraid

their yellow marker underlining facet

may involve scarcity of mans’ quotidian

brevity. Wetness, whispers. Drizzle’s

cotton sheet wraps us, womb

of causal memory of absolute burgeon.

It is here:

enjoy, renege against the hate

of thirst, finalize the fortunate recovery

grass blades remind us: renewed temporal

allegorical elation.

Approbations 27

—after David Braid’s The Music Room

Annual.

Return.

Fathom.

Melodies.

Light

lifts

dust-shaped

rhythms

off

ground’s vocal stillness

poetry of research finds

adjectives surround every vital existence, not and fully ignored.

Room of expansion, mind collates each structured

delineation

once

dream-shaped

prelude

maturation

infinite.

Approbations 28

—after Sun Ra’s Heliocentric

Mountain, sawdust future, dissipating language

tongue-dead anchor

bridging body’s rounded bringing

absence. Re

tion

science seared reality

understanding fiction’s frigid distance. Man

maintains eyes of the living legend,

dictates founded focus

tales of the prophetic injuries, links

laughter, omnipresence happenstance

continuous epoch, eerily aware.

Approbations 29

—after Albert Ayler’s Spirits

Crows hammer black, iron head form

arrow sultry, serenading gray. Body

unravels, sheet-sound

whisper-wrinkles

formulation concept, ascertaining, gone. : Are

the dying beneficial ?

cultivating ?

becoming aware

theory of attire

manifest

delusion awakening

clap of thunder’s

forceful

declaration?

Approbations 30

—after Albert Ayler’s Ghosts: First Variation

Walking, fallen tree

footsteps on kited meander

fish above watering’s

evaporating address. Said

face of stone, skipped

into now’s pathway of various X

meets with face of death’s family:

akin to the living spiritual hymn

erased from memory’s tributary

echo. Visitors of night, owls’

complimentary companion

howl moon-call bluing burgeon

child, you will never acquire

fulltime acceptance.

Painters’ Exhalations 151

—after Liu Jian’s Untitled ( lg Pale Grey

The young girl

found a self

on the petite lines

of a petal’s discarded

wrist

where enough of its

innate, pastel scent

awaits her innocent arrival

atop a ground whose spine

of disrepair

within a constant pressure

to perform concrete

strength feats of

immeasurable renewal.

She born into a background

monotone safety of a parent’s

watching, handholding stare,

she, unaware of a flower’s dual

identity, of the unobvious

authored companionship texture

now sleeping in content

of her fingers’ massaging

walk.

Painters’ Exhalations 152

—after Kee Tae Kim’s February 2nd

Soon, warmth,

the accolade facilitator

of flourish, primary color.

Now, a chilled room of

everydayness, ice’s hand

shows stencil skill

atop green paper of a

withered yard’s chapped incline.

Light, though,

amid the cool whisper of coming

dawn, the wrapping conversation

requiring wool atop skin to comprehend

its overwhelming meaning,

or paralleling angles of a warming

entrance, the entrance of kind mothers

attempting hug of their child’s joy.

The constant thumbprint of sun’s

strongest hand, released only by the

moon’s shift change policy as gray

undresses into naked shape, 26

more attempts will mirror this

2nd day, and boomerang will revive

its appearance after the earth

completes its routine revolution

on the forgotten, upward

avenue.

Painters’ Exhalations 153

—after Tapp Francke’s What I haven’t told you

: the writing amid walls

of your capacious mind,

mirroring graffiti lesson horror

where pristine became decapitated

quick with slicing knives of breathing paint

: minds with isolated populations,

the frightened figures standing on corners

ascertaining begging will compel only echoes

of the asking voice

: when alone, sprawled across the specific

math of lying between air’s decompressing

barriers, listen to the prose your mind

pays the ears to acclimate to; within the

prosodic sequence appears stairs

travelling you from the danger caused of

harmful interpretations of imagination’s many—

choking self into a tightened transfer

of reliance on illusion-voices

scratching the back of your

unknowing throat.

Painters’ Exhalations 155

—after Chester Arnold’s Tailings

Leaving home

never fully leaves the body’s

abscond alone.

Reaching, the mind reaching, the mind

away from walls decorated with hands

leveling a life evenly

where

catastrophe and peace

resemble a likeness of stepsiblings’

orchestrated distance.

Where

the body leads its function to boomerang

self into humdrum back again

traveling

steps from room to room

and eyes can lead without the knowledge

of visual detection.

As if a tail we’ve tucked deep into the thread of our moving forward,

we return to the breathing space of a comfortable

understanding, leaving what’s possible

to ascertain our absence as an abstract

rendition of our isolated

reflection.

Painters’ Exhalations 159

—after Benjamin Butler’s Leafless Trees

Branches like knives

sliced their wind-tossed,

threadbare clothing into invisible

attire, leaving semblance of leaves

dangling-edged on metaphoric branches

in the memory of autumn’s

colorful motifs. The branches

a quivering display, displaying unwanted

dance where musical sirens of bird squawks

adhere to the body’s dismembered

quality. Look, look into the defiant bodies.

The bodies naked on the ending solstice,

reacquainting self with a hankering of

Spring’s seamstress,

sitting among every trunk’s pant leg

with redesigned designs

awaiting to reclothe,

assimilate ironic

forthcoming

warming weather.

Felino A. Soriano (b. 1974, California), is a case manager and advocate for developmentally and physically disabled adults. He has authored 20 collections of poetry, including “Altered Aesthetics” (ungovernable press, 2009), and “Construed Implications” (erbacce-press, 2009). His poems have appeared at Calliope Nerve, Full of Crow, BlazeVOX, Metazen, Heavy Bear, and elsewhere. He edits & publishes Counterexample Poetics, www.counterexamplepoetics.com, an online journal of experimental artistry, and Differentia Press, www.differentiapress.com, dedicated to publishing e-chapbooks of experimental poetry. He is also a contributing editor for Sugar Mule, www.sugarmule.com, and consulting editor for Post: A Journal of Thought and Feeling, www.postjournalofthoughtandfeeling.com. Philosophical studies collocated with his connection to classic and avant-garde jazz explains motivation for poetic occurrences. His website explains further: www.felinoasoriano.info/.