Stopgaps do belong to the internal economy of the form, since the Whole requires them, even if only in a subordinate position ... The stopgap Luigi Paryson's 'zeppa' accepts its own banality, because without the speed that the banal allows up, it would slow up a passage that is crucial for the outcome of the work and its interpretation.
My poetry had the same functional origin and the same formal configuration as teenage acne.
For Mallarmé naming an object meant suppressing three-quarters of its poetic pleasure (which consists in the joy of guessing bit by bit - "le suggérer, voilà le rêve!").
