
Alexander, likens the writing of “Solea of the Simooms” to “trying to transfix the elusive elementals of the mirage. I was attempting in ‘Solea’ to work with a language not unlike the inscrutable motion found in the symbols of jasper and blood. In another sense it is a cosmological isolation and wandering. But in the end, it is poetry which contains in its substance the power always hidden by invisibility.”
The book’s lexicon includes some coinages, not limited to “insinuendos,” a marvelous portmanteau, I think, of “insinuate” and “innuendos.” Here is my word-hoard from this incredibly layered text:
Simooms, splendiferous, dolorosos, transmundane, neutrino, anti-neutrino, electrokinetic, mesmerism, antiphonal, dromedary, sullage, intermolecular, mysteriums, frondage, phonation, incarnadine, proto-condensation, gladioli, fulgurant, substrata, rapacious, sibylline, anti-successive, equilibria, translocation, vitreous, cinnabar, concussives, gravitizing, spectroscopic, pontoons, albedo, drachma, gamboling, isodynamic, aleatoric, noctiluca, isoplanatic, spectra, clepsydra, laryngeal, dihedral, ohmic, chirality, dextrorotary, anticlockwise, diamantine, hieratic, claritas, transdissected, tarantellas, sinusoidal, auto-ferulas, gravid, paraphonia, borosilicate, hypnogogic, ejecta, sphinxian, endogenous, osmotic, moneronic, reticular, neoteric, canton, acidulous, solfatara, congelation, skua, gestral, alter-fractions, transpersonal, opprobrium, algid, collusional, supra-physical, ergasia, candela, rubescent, susurrates, totalic, subtrahend, vertex, seked, scintilla, angstroms, typhlotic, embrasure, sanguinary, amorphic, unfoldment, incantated, transmundane, orismology, opaline, phlogiston, phasma, indefectible, isobar, verdet, oblation, ozonic, creosote, recension, flamelets, invictas, circumstellar, heterocyclic, bionomic, and volational.
