I was trying to smooth the ghost of meter, based on the the following motivations a) it is nomadic (deconstructive of its artlessness) by postponing the grotesque (uptodate), and so possibly sublime, world b) it removes noise from the equation so that poem is meaningful c) it relates to projective verse.

All well and good or not, but perhaps one should neither postpone the world, nor make/write the world as a grotesque thing, unless narrative is fragmented. So I will go on with collage: smoothing the grotesque to open an ontological hole in the life of a poem that is ontically the fragmented world that leaks in.


Complete trail with
rope of bright blue loop;
throw it into dirt. On a
shelf by a window there’s dust,
to peculiar tobacco scent.
An oak bends visible
to my contrition.

Test results

If you smooth out the interplay of ictus with beat, meter with rhythm, and then collage the fragments a) if unstressed syllables are equally timed, then the verse is doggerel, has no life to it, and b) it creates a mood per the relaxed tonal rhythms of The Waste Land.


Writing fragments at distance might be work.