Derrida/Coleman

Were it possible, I would be naked. Of the nude philosophy:
consider the globalization of the expensive american sound. 

Should we worry? We should work. I believe you’re right.
I distrust the word “white.” It’s sanctified propaganda. 

Repetition is my language of origin, the highest technology. Anyway
the body is only mine provisionally. For reasons that I’m not sure of,
I am convinced that before becoming music, music was only a word. 

I prefer to destroy the composer, renew the concept.
Extraordinary limitation playing freedom.

Related Poems

Field theories

sold for poker chips
left cold left thawed left

bent into the yawp
ass up

let be
let air

bones
unknowns

ash
everywhere

curved space
dark – breath

dark – breath
dark – what?

sold for bluff on blind
left choked

left down
left bent

left passed
catch

How a body grabs a body.
Hungry. Even Jesus let

his bakers dozen fend
for themselves once

they got to snipping and
sipping too comfortably.

According to the literature.
Jesus. That first bite.

Its sharp. Its ache.
Its nectar. We’ll

build a fort and fill it
with maple trees gone gaudy

with cobalt wishing stones.
We’ll crawl inside and imagine

how maybe we used to laugh.
Fuck Orpheus and fuck them

for loving him for not loving who
we love when we’re the ones

down here rotting in hell.
Huh? Music?

Anyone ever really heard us sing?
Let’s move this: anyone ever asked?

Even so we sing all day. Even so we pass
our hours whatever ways we can —

We know some folk don’t listen.
Just look. And trace. Look:

What is a thing of beauty
if not us?

Bear where a clothespin clips a nose
and breath is held until —

Bear it then keep walking
toward light. Right? Wait —

We’ll ask them to name something
blue and maybe they’ll say:

popsicle tongue
broken finger

black eye. Easy enough
to say You. Don’t.

What does anyone out here know
of us? How

our tar-stained wings hide
what ergot saddles we ride. How

between our teeth we mash
the fur of maritime beasts. Still

some folk never thanks us
to manifest their pleas. Yet

what is a thing of beauty
if not us? Repeat:

dark – breath
dark – breath

dark – things we do as
we turn slowly blue:

lead laser dots through another
chalk outline; pick up today’s

halloween dress; cry
at commercials; obey; pay

defense department rates
for a sandwich; unremember

memorable jingles; jaw
sandwiches that taste just like

sandwiches; figure we can’t
expect much more than that; don’t.

Some slaves only get free enough
to crouch in Kentucky foxholes

with Cincinnati just over
one last swift river.

Our own acrid smell finally
wakes us. Eras. Halfwoke

slowroll through the wet spot.
Panic. Floor. Hard. Years.

The worst kiddie-porn
we’ll never say we see.

Bottles. Cans. Pizza box
hotels. Crusty burrito

bits. Razor blades.
Mirror shards. Cat puke.

Half a joint. Shuffled match.
Broken brick. Bloody steps.

Lit joint. Burnt fingers. Better.
Wash the hair/don’t wash the hair.

Wash the hair/don’t wash the hair.
Wash the hair/don’t wash the hair.

Own no time. Late as fuck. Strip
the bed. Consider the stain. Don’t.

The murk we blow to cool.
The slop and bang we curse.

The hum of incandescence.
The lip burns we nurse.

The best skin of our lives.
The best skins of our lives.

What is thing of beauty
if not us?

Repeat.

revision, impromptu

with David Rothenberg, Nicola Hein, George Lewis, Dafna Naphtali, Andrew Drury, Tanya Kalmanovich, Hans Tammen, Sarah Weaver, David Grubbs, and Ally-Jane Grossan
 
Logistics sounds like a work song. The bottom anticipates and tills and then it’s time to turn over. This limbned, uncoordinated independence is anagnostic. Flesh touches. I am because we are is some bullshit. I ain’t because we share air lore, more notes on Auto da Fé’s blacking of the presence of an absence. The abyss between frames, that dehiscence, indicates this refusal either to fuse or choose between tearing and binding, a careful preservation of wounding. The whole fade in a shuffle it projects and prepares, a soufflé of angles, a palimpsest of snares and rides, some continually hidden h, a heft of air, a thievish shift carnival, a tufted shear, a shhhh of whirr and bookfan. We wear a fan of books, page over other kissing inside lip to disappear into another outside in coming into view. We all come from nothing to hard tone row and that cool move, chafing against the new phasis of the history of displacement, sound like it got a three on it to me. Blackness is the revelation of that which makes a people uncertain, unclear and awry in its action and knowledge. I think I been thinking ‘bout that for ‘bout thirty years, Krupa become Krupskaya having lost their aura, but when I get a chance I ask Scott La Rock why I start to think and then I sink into the paper like I was ink, like I was a Chinese painter in the hold of the beholding. The zero degree is what he says; she says nothing in reply, a festival, irreparable. The age of quantum mechanical reproduction is giving tune away to rise. Collaborate elaboration, William. Infinite consanguinity, Dumbo. Fleeta Drum came with us, brought something with him, brought a swing with her to fold the document. Can improvisation be documented? Has it ever been? Lemme ask Scott when I see him—see if improvisation can be revised. Scott, can improvisation be revised? That’s an arctic jazz question, regarding whales and, further inland, elephants, and saxophone kids, non-expert users, autodidactic squirrels in task decomposition. Is there an analogy between improvisation and optimization, affirmation and ingardenation on improvisational gardening? What’s the Greek word for “reading”?
 
 
Which is the point of all this rub and cyclone, when the eye falls into plenitude in a series of caressive abuse and kisses, oikopolitics and storms, good and bad time weather in a tore up propagation of clicks, which is when I realized you’d prepared the back of our throat for a speech about the tragic ship, the interminable line to it and the endless line from it, woodskin, wind’s skin, wound and drumbone, bowed, time to stay, string, till poise come back for poise, for our unsupported method and post-sculptural stuttering and non-purposive black massive hymn and sold, celebratory subcanadian scotchplain, plummets of bird patterning, the scotchirish hazarding of north ideas, habitually prenational birds, field recordings of syncrudescent birds flew down to tailing in the good and bad time weather, bird in the collective head of mama’nem at the blues university, Clyde’n’mama’nem and her and ask and think a digital conference of the birds, viola, ‘cause music is the fruit of love and earth and nobody gon’ buy it anyway, for there is nothing lost, that may be found in these findings, by these foundlings, driving ‘round vising and revisiting in the inescapable history of not being you. Our name is unnameable in this regard and miles ahead, feeling what you can’t see all incompletely. The half-fullness of your glasses makes you wanna make the word go away but you do have a capacity for massage that gives me hope. In the delicate evening software, I can understand Russell Westbrook. It’s ulmeric, oliveirian, in its unfirewalled all over the placelessness. We gig everywhere and it just makes me wanna giggle, or holler at you from way over here, party over there, if you can wait, we being behind the beat a little bit but right at the beguining, gynomonastically basic and maternal earth tones all out from the tone world, deep in the bass loom, twilight weaving morning in La Jolla/moonlight in Vermont someplace, some folks parking, some just getting dressed, everybody waiting with everybody for right now in right there, party over here.
 
 
Well moled, old Grubbs! We all here in the ruins but we got something in our hands—an experimental bandcamp for news and flowers. And I appreciate y’all letting me sit in, being so far from virtuosity. I wanna be communicable from way back. I wanna be in your base community, grace abounding to the chief of sinners. Remember that song by the Spinners called “Sadie”? The one on Spinners Live! where he reverted—that contrapulsive, not just knee-deep conversioning he got caught up in? Soul Wynne was sewing that night. It was like he had a drum in his chest, just to let you know that nothing lasts forever. The improvisation of forgetting is redactive flow everyday with all these voices in our head. These are always revising herself. One said they told us to be Germanic so, with great surprise, we took a picture of your tech with yourself, our constraint, and it was undecidable between us but plantational, since we the police of different voices, to be your instrument in this sovereign fade. Go back and look at it again when we fade a little bit, when invention won’t let us come up on it from behind. I don’t know my own stuff well enough to mix it right now, but we been remixing it all along past the everyday fade. Mama’nem are the different voices in your head. Are you gon’ play me now? I wan be played with you. I wanna be down with you. My code voice is Stanley Clarke, rajautomatic mixive for the people’s quartet, no way to control it, can’t caul it, won’t be covered, some uncoverable cuvée, girl, some prekripkean cupcake, causally unnameable as that Krupa keep coming back, tense but casually anafrican. Scott says the Greek word for reading is writing. It could be, I don’t know. I’m undecidable between us but you can ring my bell. The night is young and full of possibilities, the only trace of which, when I go back, is how I sound for you from one diffusion to another, as if the room were our hijab, as if we were a roomful of people writing about Cecil Taylor, as if writing about Cecil were reading James Cone, as if I were Sharon Cone’s escort to Cecil’s going home, as if we were the temporary contemporary—air above mountains, buildings in our hands.

Exhibition

when i show you the illicit
behind a fiberoptic veil—
obstruction is a kind of foreplay.
yes—this is an intentional seduction.

this behind is a fiberoptic veil
i build an economy on anything i can.
yes—this intentional seduction
is suppose to be a delight.

build this economy on anything i can’t.
my taste is acquired, so take your time.
suppose, this is a delight—
the mystery, yours to solve.

you take & taste my acquired time.
take what wilts from my lips—
you—the only mystery unsolved.
i can never stop questioning my mouth.

take all that wilts, my lips.
where every fantasy i try leaves me dead—
i can never stop talking about my mouth.
here, my tongue is bile & tomorrow.

they leave me dead in every fantasy i try—
the overgrown prophecy i am to witness.
bile becomes swallow here & tomorrow—
some end time we have already faced.

the prophecy lives to overgrow the witness.
no future belongs to my body.
these end-times we already face.
my testimony is the absolute of what i know.

i belong to the future in my body—
will truth survive the transmission?
i testify in absolutes of what i can not know.
what do we make of the delay?

what will survive the transmission?
reveal the half-life of the illicit,
unmake myself as a means of delay
watch for the obstructive foreplay.