In Clockwise Cat, I have referred to Felino Soriano's poetry as Escher-like, for its cold asymmetry and abstract meanderings that always somehow end up where they began, in the most nuanced of ways. Or at least that's my reading of his poetics, which marry logos and pathos very deliberately.
In Hinge Trio, Soriano's and Levinson's takes on Hinge Theory interweave with chaotically coiling and blotchy ink-art by Linda Lynch. Each artist proffers his or her interpretation of how the Hinge Universe looks on the page, and the result is a book that pulsates with zealous vitality. Not only do these pieces blast open the door of possibilities for endless experimentation technically speaking, but they also remind us of our own self-imposed constraints and fear-induced conformity. As Levinson says in his centerpiece poem, "pathos in deliberative disdain (Titular Alternate: Fuck (to be read at inauguration address",
fuck stability fuck instability
fuck the principled fuck the unprincipled
fuck rapture & fuck grief
fuck birth fuck death
In other words, fuck it all...we pay a higher price for actually caring than we do when we just euphorically forego our phobias and allow ourselves to dynamically evolve instead of stagnating in a rigidly rules-based society.
Elsewhere, such as in "with (for Linda Lynch line(s)...." Levison toys intrepidly with the infinite incarnations of words:
and these lines from "lines like parlous adumbrate" display more word-games in the same spirit, creating a paradoxical lexicon of tension and whimsy:
lines scratch out
scratching into the wall scratches a figure out
(scratch ://: strike strike out strikeout
and later in the same poem:
underlining ://: underlying > the outline
As for Felino Soriano's Hinge Linguistics, here he is showcasing his more audaciously experimental works. Punctuation and typographical marks have started to play a crucial role in his pieces, embellishing them like tiny fragments of art. These marks are evolving into a lexicon unto itself in Soriano's work. Marks like parentheses, brackets, ellipses, arrows and and forward and backslashes interface unexpectedly with words, though their unpredictable interaction is clearly by conscious design rather than wholly surrealistic. Such marks lend feral dimensions to the poem, | a jazz in _____ reinterpretation-gradated lugubriousness | , whose format cannot be faithfully replicated here: