I was flicking through ‘the white stones’ again.
So e.g. ‘For a Quiet Day’ seems to primarily base its affective interest on the quiet shock of the street outside the violence of a harpist’s performance. What’s interesting more generally about that is how it RE-ORDERS the historical meaning of harp playing. I don’t have the literary knowledge to follow that in my imagination. In ‘Mouth Open’, I’d suggest, or guess, naming is creatively reordered as meaning making (via and in Stein, Genesis, Shakespeare, etc.).
Back to me for a moment… the reordering of my poems would be based, more naively, on the word, line and phrase, those being out of place; perhaps that works to create a new order as for and per music.