epistrophe and epistrophy

some ekphrastic evening, this will be both criticism and poetry and 

failing that fall somewhere that seems like in between. this both/

and and/ or neither/ nor machine comes in having been touched

by what's seen and wanting to touch what's seen through some

extraordinary realities. it has to do with what's heard in what's 

shown: the rolling air of nevermade nonet’s everyday recording,

unraveled scrolls, hung from rather than placed on their support,

or partially let go and let touch the ground and, more loosely

and informally than the broken place book usually allows, touch

one another. this semi-floored unfurl volume is imprevisionary

light. the epostrophic is a scene it seems like we can't help but want

to touch. it turns out and back on itself into the end of the book’s

endless history. moreover, we're foregiven what it is to see with

and through what it represents, since mimesis just can't let go

transparent dreams. the gliss on this is like organza, clarity fatal as

reflection to seeing with and seeing through, which are felt oblique

and pressed against, unpainted, hand-painted, the very palpable

touch preservation wants to guard against. guardedness in blue

museology is what epistrophe all but guardedly defies. so, shahzia

says, nothing's hidden by these draperies; what's hidden by them

hides and then something happens when hiding is seen and seen

through, and veiling as revealing is embraced and refused. scrolls

of shifting border off familiarities in phases of successive phrases,
 

epistrophe, aka epiphora, anaphora's counterpart or counterpoint,
indicating turning about, twisting things or affairs, but also moving

up and down, is engineered from epi, or upon, and strophe, turning,

whose proto-indo-european rootlessness is “to wind” in rhetoric

and figure, which successive phrases follow with that same word,

to affirm. It's also used in music, though affirmation, as when a band

turns out from back and onto and through and with itself to abolish

jubilee, a common wind of tone kept coming back to itself as other 

than itself, as other than beginning or end in epistrophy says epistrophe,

as if again and again we show how falling is rising turned and turning 

about turning in fair play And coming out right in consensual simplicity, 

in reversal of upon unto draping what hangs about us like a garment, 

marking flesh’s closeness to clothing and the whole textilic field of 

textual welcome, where skin falls into skein’s release of parchment,

resident with this relaxation of curling rosamund brings on tilled,

preleased, deciduous, and aviarily undecidable reliefs of leaf and wing.

in wind and leave, epistrophe is seen and heard as sheet music, as a music

of tresses, of dressage in undress, or unrest in and under the duress of

brutal, incompetent determination—a transcript of wind all unwound

before and after. epiphora means carry on, or bear, or persist, or suffer,

or endure, and it's not surprising that it can't quite do what it means

as it also stands, on the cusp of matter and emotion, for the presence

of a watering eye, tearing inseparable from tearing, a little overflow 

of tears whose tracks tear up the portrait of composure with more 

and less than normal crying. epistrophe, by way of what repeats it

differently, flowers into overflowing, flown and overflown in pianistic

lágrima, orchid, moth. is eye watering, like mouthwatering, a function 

of appetite? is it like when a particular sensual experience makes another 

sense go off? if so, it's not the experience but its denial that prompts 

and urges. in this anasynesthetic mood, I’m crying for what I shouldn't 

touch. I'm touched, in this regard. in this regard, I am impassioned.

I'm with y'all dragging witness’s sad spectorial drag of all involved.

involvement in pansensual ravishing and unraveling of regard is epistrophe

accompanied by anaphora, which epiphora carries at its root, even when

anaphora's not there, even when epistrophe and epiphora are displaced. 

repetition is dis place/meant, too, and sometimes almost means avoid,

as in the case of fold tending not to turn toward self-enveloping. it’s like

a repeated end making up so insistently for the absence of its repeated 

beginning that beginning come out to show them in the end. anaphora,

the repetition of a word or phrase in the beginning of successive clauses,

+ pherein, all to bear. this cutback cuts against the wave it rides, cutting

together-apart in tuned negation, till it seems like anaphora is present in 

epistrophe, jut like wounding, turning, falling, and bearing are all up in 

epistrophy. and all we want is nothing come first and nothing come before 

we just want to be none in being-involved and therefore ample, unalone,

and nonaligned in movement, fumi bending birdy-like precision in band

or bandung, not in search but in coral refusal of the one as karen carols

all this anaphoric, epistrophic play of carry in soft, urgent conferencing

and carting, and roopnaraine cartering, and alissa andaiyeing, ah ndiya

ah demiurge, breathe simurgh with catastrophic joy, and turn and turn

the falling page. all involved’s symphatic chorograph, as epistrophe and 

epistrophy repeat their saturation of repletion, as issey rehearsing isaïe

singing holland’s tilted river, as shahzia’s revenant breeze reciting monk

reversing drawn out tuck and tranche, as the union rolls on and on and 

incomplete in unending counteropenings of seem and seam and seme,

our plea folds like a dream of the guianas, where the real is for the people.