{"id":100,"date":"2009-09-05T06:16:52","date_gmt":"2009-09-05T11:16:52","guid":{"rendered":"http:\/\/fullofcrow.com\/prate\/?p=100"},"modified":"2017-10-03T23:57:50","modified_gmt":"2017-10-03T23:57:50","slug":"felino-a-soriano","status":"publish","type":"post","link":"https:\/\/www.fullofcrow.com\/prate\/2009\/09\/felino-a-soriano\/","title":{"rendered":"Felino A. Soriano"},"content":{"rendered":"

Felino A. Soriano is the author of a number of poetry collections, and the editor of Counterexample Poetics<\/a>. Interviewed by Elynn Alexander. (2009)\u00a0<\/em><\/p>\n

EA: You say that ‘philosophy\u2019s vast history and rich language enhances the mind\u2019s ability to articulate and think critically’.\u00a0 You connect this to your practice of writing poetry. Do you mean in the sense of process, or the ways by which elements are incorporated into the construction of the poem?<\/em><\/p>\n

FAS: The construction of a poem I am writing is never predetermined in the facet of existential idea, nor from the vantage point of isolated symmetry, meaning the connected balance between idea and language.\u00a0 Philosophically, my endeavor is to examine surroundings, objects, colors, sounds, etc., through the metaphysical aspirations of ascertaining what is not readily seen.\u00a0 This practice is performed through a conscious and concentrated effort into writing without the use of clich\u00e9.\u00a0 When approaching a poem as I do life [existentially], the philosophy of the self is determined to promote the poem through critically thinking about what is in direct line with natural observation.\u00a0 Observation is imperative; as is interpretation.\u00a0 These realities must be in abundance when writing a poem, but too, can predict one\u2019s life within the spectrum of success, when implementing these skills within a practical method.\u00a0 Beyond the multitude of poetic metaphors available for say, a clich\u00e9 subject as the sun, the authentic poet can write about this clich\u00e9, but unveil it to a reader as if it is a neoteric idea.\u00a0 This is my intention, my scheme while writing a poem regardless of subject matter.\u00a0\u00a0\u00a0 <\/p>\n

Vis-\u00e0-vis attempting this intention with my painters\u2019 poems, the interpretation is the basis for needing to find life which parallels but also differs from the painters\u2019 naturalized objective.\u00a0 This is actually quite simple, for although a painting may be easy to describe through its various tones and shapes, and also through factoring in its title, I do not have an idea of the artists\u2019 intent or burgeoning idea into why the painting began and ended as it did.\u00a0 I find this intriguing regardless of the paintings\u2019 posit of subject.\u00a0 A person leaning can be defined quite easily in a painting.\u00a0 But, I can also see a person leaning within an abstract painting, one without the tangible lean of the body\u2019s perfect stillness.<\/p>\n

EA: Can you give an example of a poem and share how the writing of it seems reflective of this belief?<\/em><\/p>\n

FAS: The belief or, much better a description, the methodology of writing in this fashion is my intent with each created piece of writing.\u00a0 The function of writing a poem includes discovery of what is here, the evident, though not readily seen without appropriate investigation.\u00a0 An example is any poem from the painters\u2019 series, in that what is seen is obvious, but the unseen, the alive beneath structured color collocated with visual intent is another attribute of understanding found when the study of the painting exposes the interpretational device.<\/p>\n

EA: Jazz presents complexity by way of the vernacular. Does poetry? <\/em><\/p>\n

FAS: Answering this question is dependent upon the definitional differences in describing \u2018complexity\u2019.\u00a0 Definitions such as these are personal affirmations which create a language of dispositional beliefs.\u00a0 Complexity in a poem deals with function of the language, \u2014how does the image shape itself within the scope of the language being used?\u00a0 Complexity can be understood and misunderstood.\u00a0 The poet though, should not write their poem in wanting to create a definition of complexity in accordance with how they feel a reader will perceive their language.\u00a0 A poet should examine the purpose of the poem.\u00a0 In this examination of multiple exertions, the task, ideas, images\u2014within this all the poem will be a natural designation of how the mind designs an esoteric belief delivered within the outcome of the poem\u2019s conclusion.<\/p>\n

EA:You are often inspired directly by visual art, by images that you observe. Your poems often provide a narrative that includes part perception, part conjecture. You are both sharing aspects of the work, but combining it with your subjective experience.<\/em><\/p>\n

When did you start writing poetry inspired by art, and what were some of the first pieces in that vein?<\/p>\n

FAS: I will begin with poems prior to my current state of interpreting paintings, which were poems written after jazz recordings with trumpeters as the group leaders, or recordings including trumpet solos that I admired greatly.\u00a0 This series of poems were entitled \u201cTrumpet\u2019s Many Tongues\u201d which included 32 poems.\u00a0 The poems were based on interpretation of language I ascertained through listening to the dialogical components of the various recordings.<\/p>\n

The trumpet poems were inspired after attending a concert featuring Poncho Sanchez.\u00a0 His trumpeter played marvelously, and while listening to one of his solos during the show, the thought burgeoned to write poetry after various trumpeter-lead recordings.<\/p>\n

Following the trumpet poems, I focused solely on writing after an entire album, which was Miles Davis\u2019 \u201cKind of Blue\u201d.\u00a0 The poem finished itself as an eleven page suite of poems, which each section written after each track from that marvelous album.<\/p>\n

Regarding my writing after paintings, this process began on 1\/9\/09.\u00a0 Since a child, I\u2019ve enjoyed looking at paintings, and enjoyed from an early age, the transformation of myself after viewing a particular piece of art.\u00a0 I wrote the first poem in January for my \u201cPainters\u2019 Exhalations\u201d series, and thus far have completed 509 poems.<\/p>\n

EA: I have had similar jobs in the past, working with adults with physical and psychiatric disabilities. These were jobs that I loved, but often my work took place in systems that were dysfunctional, or disjointed. Do you succumb to cynicism?<\/em><\/p>\n

FAS: Cynicism is an important part of my daily existence.\u00a0 Philosophy has birthed this important trait within me, and I now am able to follow patterns of independent thought, instead of being lead by another\u2019s function of positing truth of the unexamined proclamation.\u00a0 Within our culture of commonalities revolving around \u2018of one mind\u2019 an imperative lies within my wish to think beyond topographical layers about what is presented before me.\u00a0 Ideology shapes thought, shapes personal worth, shapes the purpose and directional desires of one\u2019s life.\u00a0 I disagree with this manifestation of being lead by a personal degree of limitation.\u00a0 This focus of ideology has shown ineffective and dangerous within the realm of political divergence.\u00a0 As the large spectrum of thought drives a person to deliver ideas that do not fit with another\u2019s definition, need or want, it has become evident that power augmenting thought will survive most and yell loudest, which through influence plays a role in forming the like-mindedness found most prevalent today.<\/p>\n

Regarding cynicism in the field of which I work, this lies solely through finding solutions to services being found again, after they have been cut.\u00a0 Monetary abandonment for appropriate causes has become the focal point for my state of residence, California.\u00a0 I have great passion for those I work with and for, and I have a passion for the population of persons that have been affected through negligent spending of causational calamities that are evident at this time.\u00a0 A grander system of support needs to be implemented.<\/p>\n

EA: Do you see areas where some changes are needed, where the systems are failing?<\/em><\/p>\n

FAS: As I posited earlier, the state is failing its residents whom need adequate assistance.\u00a0 As a case manager, I see directly the hardships being experienced at this time.\u00a0 Those that I work with and for have abilities to offer towards what is not sufficiently respected, and have a myriad of wonderful gifts that are not being experienced on a much larger scale.<\/p>\n

EA: Some people would consider the study of philosophy to be impractical, indulgent, disconnected from task and vocationally oriented “training” that matches people with income.\u00a0 I suspect that we both think there is more to study, beyond education as some means to an end. What factored into your decision to make that choice, to commit those resources?
\n<\/em>
\nFAS: Regardless of an esoteric belief regarding the study of philosophy, my own engagement with this vast subject has improved my life radically.\u00a0 My poetry has become enhanced since first delving into metaphysics, and applying my learning to what I interpret and suggest within my writings.\u00a0 Observational abilities have improved; too has my ability to think through various impositions given through the dialectic of associational constructs that disallow camaraderie.<\/p>\n

Regarding philosophical attributes involved in my current employment, I am able to think about what is presented from multiple angles.\u00a0 This allows better support, as I am functioning through comprehending a specific need, and assisting in ways to meet that need on the basis of importance though understanding why I am so passionate about my work.<\/p>\n","protected":false},"excerpt":{"rendered":"

Felino A. Soriano is the author of a number of poetry collections, and the editor of Counterexample Poetics. Interviewed by Elynn Alexander. (2009)\u00a0 EA: You say that ‘philosophy\u2019s vast history and rich language enhances the mind\u2019s ability to articulate and think critically’.\u00a0 You connect this to your practice of writing poetry. Do you mean in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[58,13],"tags":[98,95,27,29,45],"class_list":["post-100","post","type-post","status-publish","format-standard","hentry","category-all-interviews","category-poets","tag-counterexample-poetics","tag-elynn-alexander","tag-felino-a-soriano","tag-full-of-crow","tag-poetry"],"yoast_head":"\nFelino A. 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