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JH: Does disjointed narrative offer only layers, and no linearity? Diagrammatically, the disjointed narrative goes down (and up), but not across? The reader can read the movement from end to end of each line or section, and how much traveling time is needed for a coherent narrative? Emotional content here is important, as emotions have their own time which the poem can borrow. Emotions call up associations: how do emotional associations differ from literary associations, that is to say, allusions? Literary, in the previous question, includes the historical - anything received from a text. Literary allusions, to me, are as personal as emotional associations. Is it, then, appropriate to treat literary allusions and emotional associations as two things? Or is the nature of allusion/association emotional? Is it literary, as we have no evidence of association outside of literature (the earliest record of allusion is just that, a record, a written document - this hypothetical and legendary earliest recorded instance of allusion. By extension, or regression, association goes no earlier than the first poem/song - perhaps association, in the form of metaphor?, was the impetus of this first poem.)? Association cannot be proved to another person; association is indistinguishable in speech or writing from invention. Allusion can be proved by comparison with a prior text. Texts that mention emotional responses can be consulted to give credence (or doubt) to someone's claim of emotional response. We have learned to love allusion, hence the emotion in emotional associations?
AHB: I see disjunction going across (to the reader) in packets, chunks, phrases. not as a kit but as an assembly. that sounds like a rocky metaphor. I'm trying to intimate the immediacy possible with disjunction. rather than taking each step toward a place of meaning, one teleports. I don't know how emotional and literary associations differ,except that the seed of literary allusion is shared, however the resultant impression grows, whereas emotional, personal allusion begin singularly. I suppose it's the diff between collective unconscious and unconscious, tho I don't want to throw a Jungian (or any) veil over the discussion. one sees that interpretations to an artwork situate in a neighbourhood, that people at least tend to see roughly the same work, tho there are degrees of similarity, and some people are in left field (with Manny Ramirez!!!). (somewhat personal allusion). what I mean is, there is a core something that travels between us, however much we personalize the meaning. the word meaning, ach, it's a troublesome word. I think an artist doesn't so much give meaning as process. shifting the governance of one's mind to another way to understand. less direct, more enveloping... I think of my own writing, the act of, and it doesn't feel like I try to convey meaning as much as open a door or light a path. that the thing made conveys, but I only have so much control of the conveyance. a poem of yours, posted to Wryting-L, yclept “Babylon is falling to rise no more” shows the lack of control (I wot):

A lamb, am I, to witness Babylon is falling to rise no more; a lamb to witness as a cat may look at a king; with the descent of Her last tower Babylon, I'll claim, disappeared hugely with such a burst my ear has a wolf's pang for its like again.

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I love these little prose snatches that you write. did I say prose? I infer a larger work of which this is intimation. not really, insofar as I don't know whether or not such a larger work exists. but allusions arise in this work, and lacunae exist that I (the reader) wish or need to fill. my thesis here is that you present this text (however you created it) to the reader with the idea that the reader would (or would have to) fill in the gaps.