Little song for big John

This is probably the best piece of literary criticism I’ll ever craft. A self portrait from a ”Self Portrait” about a self portrait. The three body problem indeed, it’s funhouse mirrors all the way down. Anyway . . .

AN IDEA OF IMPROVISATION 

READYMADE AS A SONNET

 IN ‘A CONVEX MIRROR’

“But what is this universe the [portrait] of 

As it veers in and out, back and forth, 

Refusing to surround us and still the only

Thing we can see? [Epiphany] once 

Tipped the scales but now is shadowed, invisible,

Though mysteriously present, around somewhere.

But we know it cannot be sandwiched 

Between two adjacent moments, that its windings 

Lead nowhere except to further tributaries 

And that these empty themselves into a vague 

Sense of something that can never be known 

Even though it seems likely that each of us 

Knows what it is and is capable of 

Communicating it to the other.”

”

You Already Know

AN IDEA OF IMPROVISATION AS MUCH ADU ABOUT NOTHING

“Didn’t I tell you what I believe,

didn’t I say that . . .”

Sade

Ifemi, how many more

REM cycles before 

your winged eyeliner

leaps the ravine 

of No Return to open me 

as a sommelier would 

a wine bottle—

before the bright crescents

of your nails wax across

the black sky of my back—

or before the saxophone

can’t signal sorrow?

Half icicle, half goddess,

only last night it seems

I sought your scent

between a gap 

scarlet as the flesh 

of a black watermelon,

yet glossy enough

to lapse all logic.

A seeking which

leaves my nose craving 

a crow-shaded tangle

most men pray 

to be saved from.

Freckled cheeks of Jesus,

who can tell how many

calligraphic kisses

might be needed to spell 

or dispel what butterflies

write in rooms filled

with strawberry irises?

It’s been written

—since the saxophone

signals tomorrow—

that a fool for roses

is a fool for rain,

but what tool could

begin to uproot

those twin legends

still blooming into heels

stiletto enough

to fell a forest entire?

Ifemi, I seek the oneness

of two palms

freed or fried 

as the symbols inside

a theorem derived 

from three types of feral.

And yet not decipherable

or functionally defined. 

A caress the saxophone

seems to borrow—

unless we forget

my being taken

or mistaken about

the need to be touched 

or the difference between

a half wound and what

wound up happening.

What does it mean

to remain tethered

like a gothic hawk

to your ankle tattoo’s

brassy passion 

for adinkra charms

or police bracelets?

Did I hum

the wrong lyrics

to the right songs

or the right lyrics

to the wrong songs?

So many dawns

have passed since your hair

swung over a bedpost

of Old Crow moans

to leave me

sizzling between 

a last flame of bud & 

that first good buy.

How many moons

before you stop me 

from being spotted

like a Luna moth

in the halo of a porch light,

turning again & again

to unlock wonders

with keys hidden under

the tea rose carpet

of yet another 

lover’s tongue?

BHM!

Because the future is HyperQBist, let’s talk about the hyperpoem—which is not just the colorpuntal forming the host poem and the ghost poem (sweet potatoes /the musk of a beloved / rosary or recipe) or even the “periodic” references (ice & mdnite), but what moves if we consider all three together to form a piece beyond the written text.The hyperpoem exists in an unwritten dimension, an ache beyond paraphrase. A semantic figure that’s similar to a written poem, but in higher dimensions. Perhaps because the hyperpoem is beyond words it can become a way to talk about things that are also beyond our lexicon

A BRAY OF IMPROVISATION FOR THE ECHOLOCATION OF OUR NOIR

(after ashes buried)

Out of shadows of our village past the rim

of one talking drum from Ibadan,

or a darkness where sweet potatoes root 

as she dreams of growing yams?

The musk of two hand carved masks,

or the funk of our bituminous beloved?

Say we inspect it as wad on the spectrum.

Do y’all reflect or interject,

hum or alhamdulillah?

O Lorde—do we star it or tar it

if three snowmen seek to find asphalt

in her absence of photons or

employ crystals of [Iodine & Cerium]

as four ploys of blaxploitation

where our five kinks get afro-picked out

and our true geometry bends hyperbolic?

Is it pretty pretu if I’m too tenderheaded 

for my kinks to be parted into 

six arrows of corn, even if

 afros equal halos only because 

Audre & Betty braided

or layed their baby hair for miles ahead

into [mendelevium & nickel & tellurium].

And what seven truths aren't melasomorphic,

more musky darkness until less so? 

Do we pretend to ache to cross it 

as fingers or oceans or streets,

or do eight cry out to the orishas even

as she wonders if they even here?

Can nine divine what counts of the pentecost 

to learn this wordless question

from the taut skin of the talking drum—

why does grammar intend a rosary 

in cornrows on our heads as if

her blues indigo deeper until midnight?