Guess What's in My Head
As for the audience, if you find it, or something you can relate to yourself, why then, more power to you.
From The Mental Life of Modernism, by Samuel Jay Keyser:
Understanding modern poetry like Graham's, then, is either a matter of pure chance—the reader happened to have made the same association at some point in time—or a matter of intellectual digging—the reader has been exposed to and engaged with this poet's work over a long period of time, either alone or with others in a classroom. In either case, being understood in the sense of having a conversation is not the poet's intent. Rather, it is as if the poet experiences a string of hallucinations or reveries and puts them into words. Whether anyone can make head or tail of them is of no concern to the poet. The "hallucinatory reverie" that is a poem functions just like the reversal in Machaut's composition. It is there for the artist—and as for the audience, if you find it, or something you can relate to yourself, why then, more power to you.
