—after Fernando & Vicente RoscubasÕ Plaster Hands

 

Ours, not of the grazing beasts, the aerial masters,

or of metaphors for flowersÕ leaves

waving at their gardenÕs attentive keeper.

                               We on timetable slavery

                                use these extensions of mindsÕ correlation

                                to bathe with small touches

 

or

          show

     provoking

               under guise

of clench and middle

finger

          gall.

 

                          A magicianÕs attire,

the naked bones of fantasy

flying with hands of abstract

                          motions, fool

the few unwilling to examine

hoaxÕs definitional body.

 

Or

     the sculptorÕs tools

                     the manipulating utensils

rubbing, tamping, writing allegory prose

regarding

          birthÕs rebirth of new angled

understanding.

               Of a nightÕs hiding, the hiders

with malice

          lit by alphabetic stars and the unaware,

fall to the disguised harmers of lifeÕs unknown whereabouts.  They

the discarding living

form the holding O of tightening clamps,

                                    wrapping

with deceitful pleasure a choking end, an

end of purpose

               alive in the echoes inside the origin of

a motherÕs once delivery.

 

 

PaintersÕ Exhalations 232

—after Peter ZimmermannÕs Skeleton 1

 

Another brand of ghost,

the unheard voice of a memory

striking eyes.  Recall

its skeleton, its dust

its powder, the mingling of

disdain for the skin-covering skin

adding texture to what smooth

disdains?  The walkers finalize movement

with running, as does the old man whose

memory of breast feeding is a freedom

gone to the shackles of a historical event.

Time is a glance toward a body broken,

broken down delusion symptoms

unrelated to a coughing expression

or limping ankle swollen to become

a new rendition.  Clichˇ symbolic

skeleton, hanging from emaciated doorways,

a laughable deterioration of an October nightÕs

forgotten festivities.  Its cardboard

hardly sufficient for the alive schematics

aimed to echo the truest form, the bare

beneath an outlining layer of

skin examining day and the recovery

of lost profiles.

 

 

PaintersÕ Exhalations 241

—after Brad DurhamÕs Nine Whispers # 4

 

Unaware of its own isolation.

Perched on isosceles triangle,

that of limbs of the outreaching,

even angles.  OakÕs hair finely thinned after combing

wind stresses dislike for natural curls.

Bird unnamed, blessed.  Unnamed but

understood.  Its voice heard on demand,

sliding throats of the listening canals, softly.

Crawls, too, abbreviated time on land

calls to statue of stillness, surrogate for

the abstract miscalculations of mansÕ

feeble dissection.  Watch, bird, watch

beneath as watchers observe a candid

existence, one of constant leaving, therefore

a shouting scream will never fully reach

your anonymous abscond.

 

 

© Felino A. Soriano

 

Biography Note:

 

Felino A. Soriano (b. 1974, California), is a case manager and advocate for developmentally and physically disabled adults.  He has authored 10 collections of poetry, including ŅApperceptions of ReinterpretationsÓ (Calliope Nerve Media, 2009), ŅrÓ (please press, 2009), ŅSearch among the Absent FoundÓ (Recycled Karma Press, 2009), and ŅAmong the InterrogatedÓ (BlazeVOX [books]), 2008.  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.  Philosophical studies collocated with his love of classic and avant-garde jazz explains motivation for poetic occurrences.  His website explains further: www.felinoasoriano.info.