“If grotesque effectively means that something is generatively distorted” then we might ask what has been distorted and by what sort of thing (and I am objectively meaningless).
The idea of music distorted by narrative may be good, but what does that mean for fragmentation?
An aesthetic judgment, that the poem has the right distance, or amplification, relative to its language, might be one way of deciding when writing (as what matters – makes language necessary and “music”) contains something of the world.
So reading does not find flaws in writing but its tensile strengths, qualities that – even if they don’t reappear – are too consistent, compact, to be prised apart into incoherence: language is paralysed as the world shatters.
We’ve compared seldom
lyric conscious to a mutable
task, to cut a stone,
that the vestibule
sits with, awkward tomb.