The discourse on free improvisation is hardly conducted, especially among younger generations of musicians. While there are intense and passionate discussions among musicians, their professional colleagues, and the audience about what they have heard after concerts, particularly in small venues, these conversations do not extend into the realm of theory. Musicians do not present themselves as speakers or writers. The formation of theory from practice and thus an active participation in discourse seems largely absent so far. There is also little public engagement with free improvisation from theorists and critics—possibly because understanding it requires a significant amount of listening, and the language used to discuss it cannot rely on the same terminology that is used to reflect on compositional principles. To talk about this music, the language would need to be expanded, and musicians should be involved in that process. There are terms that shape and limit our perceptions, which are either too narrow or too loaded and need to be replaced or expanded. This anthology offers exactly that: thirty-three outstanding representatives from the improvisation scene, as well as composers and musicologists, reflect in writing on freely improvised music. Their contributions create a puzzle of discursive, analytical, philosophical, self-reflective, metaphorical, narrative, and poetic texts. Together, they provide insight into operational modes and strategies that reveal various facets of a poetics of free improvisation.