Cover art by Marta Kucsora, photo courtesy of Postmasters ROMA, Photo credit: Giuliano Del Gatto.
The mind poetically sharpened by laser-like perspicacity understands this operative module as one that internally blazes by eclectic pre-consistency. Because it never abstracts its own model or pre-describes it’s own essence by means of crystallized linearity. It carries itself within flames, akin to spindles or flames sired within explosive ocean water. Not as gra-vitized momentum or principle yield via stasis. Because it sires bottomless intent, it remains always unpredictable, never as linear ash or predictable anonymity, as if predicting waves of water, or a non-existant lunar state.
Certainly not a staged in-germination as pre-scripted particle particle, or super-imposed germination pre-disposed to mechanics as codified determination according to the brutality of rhyming, that sires itself according to proto-mechanical subtext. Not pointless perfection that suppresses an unruly lingual state as continuous proto-stratification. Take the power of a wave of bees with its nutritive subsistence that partakes of living yield. One can take of this higher wave as nutritive mathematics. The manner in which power attracts its own form by active simulation, but by leakage as simulation of its own form. Within this kinetic amalgam cognitive scaling remains principly useless as possesibly failed organics.
Within living poetic welter, mechanics embroiled itself within useless welter that provokes hesitation, that seems to seamlessly invoke hesitation by lingual routing, by glints that pointlessly rotate according to failed mechanics. And because it fails to yield principle organics, it immerses itself in a field of obliterated dolphins. This latter remains charismatic field that burns in itself as self-sujective nullity. As graceless usage that somehow implies ironic tranquility. For every principle wave never yields to metrics, to medicinal gradient according to supra-imposed scale that acclaims itself according to self-condemned imaginal poverty vis a vis a shrunken lateral scale that reverses itself by lessened spark as ignited connection.
When Césaire states that when the ceases to engender its living context via its own laterality it cannot survey its connective particulate via inscrutable germination. Thus language suffers within this deprived germination, adopting a script of wizened hallucination by failing via its own endemic thriving. Thus it withdraws into toxic utterance supervening at the toxic scale of wizened ophthalmic registration. In this sense the aural bell is delimited as array by possibility. Because this latter array never proposes deafening by musical array by wizening not unlike graphic nuance by ash, in contradistinction to iron filings that spew themselves according to mechanical detritus.
When one refers to Césaire’s multiplicity by inference one becomes isolate from blight, from universal immaturity, that withers within proportional context. Thus it fails within the luster of galactic sum via galactic fecundation. By critiquing the mind as isolate habituation with its fixed meter, with its isolate circumstance. At times, it glistens as meteoritic property only to fall and commingle with its own gazing. The latter being none other than proportional sub-text that constricts its own utterance. As for greater lingual explosion its grasp falls short of existential character being protracted proportion alive within disadvantageous mazes. In essence, sovereign domesticity that fails at eclipsing a sovereign maze of Herons as they summon their own directional doctrine not as feral hamlet by conquest, but implied by greater origination of themselves. They being of Anonymous durability as hallucinogenic optimum. The latter being cosmic continuity as vspour always signaling higher decibels.
By listening to higher inner squalls one seeds one’s on spectrum. Perhaps carnivorous optimum as dazzling structural seedings by aurum. This being higher ethical aurum being amazement by resonance, not subjected to the methods of a barbarian recluse always structured according evidence structured according to methodical reduction.
Will Alexander (born 1948) is a poet, novelist, essayist, playwright, and visual artist. He was the recipient of a Whiting Fellowship for Poetry in 2001 and a California Arts Council Fellowship in 2002, in 2014 American Book Award for Singing In Magnetic Hoofbeat: Essays, Prose, Texts, Interviews, and a Lecture , and 2016 the Jackson Poetry Prize (awarded by Poets & Writers) .He earned a BA in English and creative writing from the University of California–Los Angeles in 1972. He has worked several jobs (including the LA Lakers box office), taught at various institutions, and has been associated with the nonprofit organization Theatre of Hearts/Youth First, working with underserved, at-risk youth. His work has appeared in BOMB, Boston Review, Entropy, Chicago Review, Denver Quarterly, Fence, jubilat, and The Nation.
