"So Julian's duet is my barrette and cabaret,
is larryette's boulez and TJ's lafayetted
and Renegade Pedal and Caplet we engraved for you.
remade his flute today.
It folds into his tummy, reconstructed
it to play with him, to play it with himself.
Black music comes out a rainbow to the deep, and Spanish out
to where it's held by flightlings who study changes.
You don't have elegies for migrants.
You sing a song of sticks for jams, a pit to form.
Extravagant is nur to nur's way.
I grew up in a bass community in Las Vegas.
Everything was on the bottom.
And everything was everything, and everybody's
we played silos.
Our propulsion was flowers.
The cellar was flooded with raised sand.
Johnny Winter in America.
Everybody and everything was hard again.
Daddy was a street corner.
Mama was a market woman.
The corner tore up everybody about her grass.
We ground each other sometimes, and chased each other,
and got down with everything.
A lot of our skin was on the ground.
And we talked about each other.
Leslie would cap against his name, and around the corner,
and up at the store, St. Francis, and upper room
standing around.
Christ in olive, and kamenev's open seed.
Louis Vitale and Sister Mary, Willie Stargell and Stephanie
Brown, lisé and boderick ousmane and jameela Deseretta
McAllister, Julia Cotton and Brian Jackson,
Tennessee and Scottie Herron, Greg Robinson was Lou rawls
live
Brother Mike was the queen of chanting and typing.
Penley Park was Chuckie Pleasant.
Chuckie Pleasant was Giant Eagle.
My old Uncle Henry don't believe in them airplanes.
Some of us believed, and left our homes, and came looking.
Everybody on the ground and everything was left.
But St. James was still there, and disappears.
In a window, in the sound escape,
but what if it's a wardrobe?
A blue-strap set of looks and military qipao for my weave
and fade, or shag, or even lightning of the Black skein
that holds it all together, hip tight, the discipline of hips,
and bottoms thick partition.
Look how song and dance don't go together down the avenue.
Soon as we call this line derailment,
we'll study service.
No eye focus.
Nobody focus.
Then get down together like an ancient decision with Reagan
playing through, they accent the second syllable,
because they are disciples, oh, harpsic flugel'd refuge.
Long-set circle, you revel in what breaks you up.
With nothing, it's impossible and easier,
the same, but really close to one another,
but unbridgeable far from one another,
the way they flee a broken park when the island is
a shipwreck and a language lab, and half of school
falls away for what we live for.
Little boy removed upstairs, a choir down below.
How to read this is double now.
Now how do we read this?
This is what it's for, to claim catastrophe.
And how to turn the world to rubble for catastrophe?
This ain't.
What is?
Look, this assert, break insert.
Save everything."