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The writing of a poem is like a child throwing stones into a mineshaft.
You compose first, then you listen for the reverberation.
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The horror of the Twentieth Century was the size of each new event, and the paucity of its reverberation.
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I have been using delay and reverberation since the middle 1960s.
I use them to make what is almost inaudible to the ear, audible. I do not use them to play loudly but to make the higher harmonics heard.