[...] He differentiated between prose, where “there is generally a quite closely defined channel or corridor of sense-making,” and certain types of difficult poetry, where “this corridor of sense is much wider and more open, more like a network across the whole expanse of the text, with many loops and cross-links of semantic and referring activity which extend the boundaries of relevance, and of control by context, in many directions at once.” He said that when text is delinked and incoherent, when “extreme ambiguity displaces recognizable topic-focus” and references abruptly shift with no warning, “these features may begin to comprise a second-order strategy of pattern-making in a new way.” He compared this form of pattern-making to traditional rhyme forms — how a poem in which the words themselves do not link into a recognizable statement can be experienced as a unity through lines that end in rhyme. In the end the poetry forms a process of “pattern and pattern-violation generating their own tendencies of meaning — or perhaps we should call this ‘meaning,’ in some second-order sense.”