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Stallings:
Two different forms, obviously, or types of poem. Both, though, part of a project in which (when things work) I've relied on following a rhythm or pattern of hesitation from beginning to end -- less deliberate than other poems or types of poem I've worked on. It seems odd to say it now (since there is so clearly a distinct speaker operating in the poems, an "I" though not the pronoun), but my intention was to speak from nowhere. One thing I was thinking (having just completed a manuscript in which I had a lot to say) was have less to say.

Transom:
Hesitation as starting point?  Hesitation as a musical structure?  Yes, please. In sound-based poems, we tend to think about repetition as an operative structure, but maybe it's hesitation. The little silences and hitches of breath.  What you've foregrounded is the negative space, in a way.  And it's good to think about the other side of the mask, the part that faces away from us.

Stallings:
I do think the two go together -- hesitation as a form of repetition, perhaps, more than the other way around. In that hesitation (stuttering comes to mind as an extreme example) implies doubling back, re-iterating, etc.