my paris begins with
those early days
as a conscious flaneur
i recall the couple
seated opposite me
on the metro
when i was still innocent
of its labyrinthine complexity
slim pretty white girl
clad head to toe in denim
smiling wistfully
while her muscular black beau
stared through me
with fathomless orbs
and one of them spoke
almost in a whisper
qu'est-ce-que t'en pense
and it dawned on me
yes the young parisienne
with the distant desirous eyes
was no less male than me

dismal movies
in the forum des halles
being screamed at in pigalle
and then howled at again
by some kind of madman
or vagrant who told me
to go to the bois de boulogne
to meet what he saw
as my destiny
menaced
by a sinister skinhead
for trying on tessa's
wide-brimmed hat
getting ****** in les halles
with sara
who'd just seen
dillon as rusty james
and was walking in a daze
sara again with jade
at the caveau
de la huchette jazz cellar

cash squandered
on a gold tootbrush
two tone shoes
from close by
to the place d'italie
portrait sketched
at the place du tertre
paperback books
by symbolist poets
but second hand volumes
by trakl and deleve
and a leather jacket
from the marche aux puces
porte de clignancourt
losing gary's address
scrawled on a page
of musset's confession
walking the length
and breadth of the rue st denis,
what an artist's paradise
(as juliette once wrote me).

My ***** felt a feather heavier than iron
As I’d opted for anything other than rollover
Whilst puking up that, “nicer,” guy.

The drink’s a ghost. The scold’s a mixer,
Soured on the rocks, Shaken, not stirred,
Stirred, not shaken,
And without a sliver of, “he,” who’d opt
Accommodate or acquiesce.

Call it, “transcendence,” I guess?
Born a realization that this world’s,
“DOG-EAT-DOG,” or,
“GOD-EAT-GOD,” or,
“GOD-TEA-DOG,”
And should I not comprehend
This very simple reality,
I’d be a doormat unto my own grave.

So I fail, I’m frail, and all for one tail
Prior the act that’d ever invoke,
“Leave;” even atop the eve of beggary.

Resolute? I’d opt for the longer life, perhaps,
Not that I’d wanted to live to long anyway,
But I’d made a choice,
I’d arbitrated one cardinal direction – elliptical.

I’d acted, placated, satiated, intimidated,
Decimated, defecated, wiggled my right pinky
And culminated a prayer atop altars, “godless,”
To never knock upon that door again.

And so, but one question remains,
“Did I?”

'What shall we talk about today?'

Spin, spin, spin the conversation
into loops and recapitulations.
Cassettes were my sustenance but
a vinyl record spins on the turntable.
Won't you tell me what song is playing right now?
Rests, then
    block chords, then
          swing-swung rhythm.
Then,
unexpected concords.

Where did those blue notes come from?
And colour our red, some supposed red, into
purple?
But jazz has always been unpredictable.

I grew up on the clarity and
gravity
of soft pink time;
pearl-notes to the steady, steady,
steady
beat of a metronome.
But now,
                now?
Syncopation.
My  
      beat
against your
                beat
and we make a violently violet
bossa nova.

Suddenly the classically trained flautist
has time-travelled to her very first lesson.
Because no sound flutters out of the mouthpiece
and her fingers can't keep up.
Swing-swung
            syncopation
and she doesn't know to breathe anymore.
Where did those blue notes come from?

Silence.
Have we reached the final double bar?
The cadence is imperfect,
                                             unresolved.
Listen, a cold snap of instant jazz
knocked us over.
Arms clasped, teeth chat-chat-
                                              chattering.
1,
     2,
3 -
A not-quite waltz.
But jazz has always been unpredictable.

Won't you tell me what song is playing right now?
I think we know what it is but can't figure it out.
And so Cole Porter and Billie Holiday save us
from
     fading out.

'Let's do it, let's fall in-"

I don't want this song to be over.
I don't even know what it's called
but
don't let it end, don't let it,
don't
        don't
don't.

I can't cook but I think
I can make  
                   instant jazz.
And you,
        and you...
You'll write dizzy like
a Coltrane solo.
As you do.
And I'll lay down my flute,
struggle out of my red minuet and
                                               wonder:
Where did those blue notes come from?

But jazz has always been unpredictable.

'What shall we talk about now?'

Listen for the silences,
intervals between notes;
silence engenders song;
without it mere cacophony.

Poetry is no different:
what is not said
often says the most.
  ~mce

Cognitive dissonance is the Jazz of Philosophy.

In her radiance
I
Lost my vibrant
And
Breathtaking the harbor nights
With
Sleek silky red dress
And
Quibble over the sacrilege
Of
Pin sized consciousness
Then
Sealed with a kiss
To
Perpetuate the captivation
Without
Feeling poignant
So
Once fold the old fiasco
Now
All the harbor air
Smells
So right.

we would be jazz—
smooth, mellow,
soul-damning.

burning with slow passion
or running and stumbling with joyous laughter.
no matter where we go—
up or down,
fast or slow,
we’d hit all the right notes,
replete with trills and runs,
bringing us to both highs and lows,
making beautiful melodies.

though sometimes
we seem to be out of sync,
it does not discount
from the beauty
that is us.

nothing subtracts.

there is only harmony,
no cacophony.
simplicity or complexity,
staccato or legato,
we will always be
jazz.

don't read me a poem that rhymes
it rings too perfectly
the tuning fork of prose

but if you must to entertain and please
then speak to me in
asymmetries that pull me in

and let me fall into a rhythm
that i can croon to
move and sway for

do that, and we can play

Disregard
the notes;
enter into
the silences.
  - mce