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«Preguntas a John Coltrane hechas por su saxofón» por Safia Elhillo

 

“dear John,
what greater love is there
than that between sweat
and brow?
what lullabies nest in your breath
when you are silent?
what am I without your breath?
what am I when you are silent?
a sword
is only as powerful as its swordsman
I have no voice without your whispers
my dear John,

what other women have known the notes traced into your palms?
did Alice’s fingers coax from you
the same songs you loosened from my throat?
who is Naima?
and why does the melody in her memorial
spill such a longing out of me?
please don’t tell me that you love her,
but do you not?

dear John,
what greater love is there
than that between raw lips and gleaming brass?
how Hamlet, North Carolina
is our Harlem these days?
how hometown are your fingers in their dance along my neck?
what bruises did you smudge all down the length of me?
in a masterpiece of fingerprints from bow to bell, you claimed every slope, every key; i was yours- weren’t we happy?

before our Trane trekked all those Miles, all those Monks,
wasn’t it always just us two?
before the women who loved you mortal,
who knew not of the blue shades of your breath
knew nothing of the maps at the tips of your fingers
knew nothing of our love.
how was I to have known that
out of me you would coax the greatest love song
titled in the name of another
and never mine?

and who else could have known that
the birthplace of your breath was not your lungs
but the hollowest parts of my belly?
when they booed you in France,
who stood unflinching at your lips?

when the heroin swirled radioactive in your blood,
who poured its beams out into sound?

and when the cancer thrust its roots into you and made a fossil of your body,
who remained the only vessel for your breath?

dear John,
tell me please,
why mothers dread losing their daughters to jazz men
tell me,
why my voice lost all its melody when you left
tell me,
how is it that you could have left
when we had the greatest love of all,
a love of brass and sore lips
a love of exhale, of molding stories from an empty cavity
a love immemorial
a love supreme
of a music man
and his saxophone”

«Mutron», por Don Cherry y Ed Blackwell

«If you take up the hopelessly imprecise tools of standard navigation, the deathly reckoning of difference engines, maritime clocks and tables of damned assurance, you might stumble upon such a moment about two and a half minutes into “Mutron,” a duet by Ed Blackwell and Don Cherry recorded in 1982. You’ll know the moment by how it requires you to think the relation between fantasy and nothingness: what is mistaken for silence is, all of a sudden, transubstantial. The brutal interplay of advent and chamber demands the continual instigation of flown, recursive imagining; to do so is to inhabit an architecture and its acoustic, but to inhabit as if in an approach from outside; not only to reside in this unlivability but also to discover and enter it»

Fred Motten y Stefano Harney en The Undercommons.

 

Chaplin es mi madre

«Para Donald Winnicott, la madre gracias al cuidado que brinda a todo niño que aún no habla, le enseña que la vida merece ser vivida. Es ella quien instala en él dicho sentimiento. [Esta madre, la ‘madre buena’ puede, evidentemente, ser el padre o también una nodriza –y finalmente todo poder psíquico benévolo y protector. Dicha situación constituye la fuerza misma de The Kid, en donde Chaplin juega de maravilla el rol  de la madre.

He señalado ya en otra parte que Moisés y Jesús son los niños adoptados, el primero por Yokébed y Amram, el segundo por José, mientras que el Corán define la filiación no por la sangre sino por la leche. Lo anterior significa que el cuidado es aquello que hace posible un proceso de adopción –del niño adoptado por su madre, y del objeto transicional por la pareja madre-niño, donde eso que nombramos ‘la madre’ es el educador a través de la cual se crea eso que Bowlby describe como la relación de apego– como en el caso de Charlote y de Kid.]»

Bernard Stiegler, traducción de Nadia Cortés

Pirámide del Sol intervenida

source

Pintura: Pirámide del Sol por José María Velasco, gif de Canek Zapata.

«La música de nosotros los feos (2)» (Chelsea Hotel # 2)

«You told me again you preferred handsome men
but for me you would make an exception.
And clenching your fist for the ones like us
who are oppressed by the figures of beauty,
you fixed yourself, you said, ‘Well never mind,
we are ugly but we have the music.'»

«La música de nosotros los feos (1)» (Chelsea Hotel # 1)

«Making your sweet little sound on the jukebox
Making your sweet little sound on transistor radio
Making your sweet little sound, (?)
Making your sweet little sound, let me follow you
Making your sweet little song, let me follow you
Making your sweet little song, don’t leave me now
Making your sweet little song, all the way now
Giving me head on the unmade bed
A great surprise lying with you, baby
Making your sweet little sound.»

«I’m not black/brown, but there’s whole lots of times I wish I could say I’m not white»

Qué ganas de ir a Acapulco…

«Aunque el juicio final, nos trate por igual, aquí hay gente de rancio abolengo»

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