A quality consistent in what was formerly called the ‘avant-garde’, and is characteristic of experimental work in general, is a refusal to allow the spectator to forget that they are witnessing a work of art. They may be entertained (or not, as many artists would seem to prefer), but it is this refusal to allow forgetting that differentiates such art from entertainment. In my poetry, this is a concept I wish to adopt entirely. If the reader is immersed in the work, that means they are among the familiar. I want to de-familiarize.