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Callaloo 27.4 (2004) 973-974



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seven fours, three trios

elvin jones, malachi favors, steve lacy

on the one hand, the right hand     the messenger of god booms,
    stretched polyphone, the el on division
don't know what the left hand           but she walks slowly in her
continuing the city for an ell
                    shawl, half-flute with      (thin line,

                                                  full shell), of the
experimental band of sidemen
                  yellow shimmers, thin line, evidence with don
cherry
is doing; on the other hand,
what one hand giveth the other hand      taketh away (by adding

but alex,

the place, the force, of source. the trace.
an always incomplete divorce
absolute impossible face

of the underneath broken course

for tropical laura

we gone that embrace of the chance that became

a method of the cut always getting cut of
the songspeak of the folded animal

and the penetrated, waiting for exile by Hendrix, [End Page 973]

ed roberson

devotion in the form of deviant
scholarship the form for disturbing
flowers shhhhh lean to the secret whole
in buildings lena's airshaft tea party.

sherrie tucker, francis ponge, sun ra

where the little girl from magic city, the pre—
holiday gardenia, the cultural student of perfect

image, perfect meadow? Please wait. pantomime daughters shriek inside out
overdub, scar, swing before trumpet, flute, half-flute, harfleur with don cherry
Fred Moten teaches at the University of Southern California. He has published a number of poems and interviews in such periodicals as nocturnes, Grand Street, The World, boundary 2, Five Fingers Review, Poetry Project Newsletter, and Callaloo. His scholarly articles have appeared in many journals and collections, including Cambridge Opera Journal, Hambone, Performing Hybridity, and Women and Performance. He is author of In the Break: The Aesthetics of the Black Radical Tradition (University of Minnesota Press, 2003) and of Stolen Life, which is forthcoming from the University of Minnesota Press.


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