“Graffiti Collage” by  Nelson Lowhim

“Graffiti Collage” by Nelson Lowhim

“RemorA”

by Sean Labrador y Manzano


Bias is a form of compliment, the Asuang of Alice Street Gardens selects shepherd
annihilated from flock, her predatory vision, as defamiliar
a companion darker from the Other she cannot court

bleached barb or boot blackened, conditional preference
shifts provenance from squall to its iris, advection validates
mindful injustice serves the ganglion’s racial deviant 

fluidly empirical, as prepossessed abhorrence or beguiled,
dryland valse as drowned, who recognizes the maternal homage,
the philistine or the filipina, marxists mistake concupiscence

designed as constellated, Caliban prefers the diatomously
indoctrinated as freckled, to know her own precarity
rates balladinas for rhizomous palay chiasm to clamor

exponent to faction and origin, the tarot less distributed
macabre corset or corsair, arborescence briganded, a revelatory gladiolus
morpholeptic as her armor brogue and fetished

thralled to floor, as pursued and pursuant of a valued strophe
refutes the counterturn, a wedded step of the threadbare, the abduct trope
obeys engagement as wager and webbed, codependent as pivoted.


WRITER'S BIO:

Sean Labrador y Manzano lives on the island off the coast of Oakland. He edits Conversations at the Wartime Café; curated the MFA Reading Series Mixer 2.0, organized the symposium “From Trauma to Catharsis: Performing the Asian Avant-Garde,” performed as Jose Rizal in the jazz choreo-poem, “Das Kapital-Volume 4: Elimination of the Industrial Phase and the Accumulation of Debt.” His current projects examine Buddhism and graduate student suicide, H.D. and colonialism, Balikatan, and race and violence.