We read a handful of coeval poems and we realize: punctuation is broken, capital letters are dispensed with, verses are often short, and the effect seems to depend on the aesthetics and on solitary words as units of meaning. The truth is that interesting effects are drawn from such techniques, already widely explored… These half irrational, half exotic and apparently sloppy constructions suggest a kind of ecstasy; but it seems that the most drastic change, as far as technique is concerned, is that the poems have become visual pieces. Although dependent on words, they have sound as secondary, and are meant to be read, or rather visualized—never recited. It is true: we find one or another alliteration, one or another parallelism; but these poems were not intended to be rhythmic constructions. We have to admit: even if sometimes they lack technique, in many of them we find genius—which is undoubtedly superior…