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Linking back cris's questions to Fred Beake: I am interested in W.C. Williams' prose poem "Kora in Hell" which as I'm sure you know was written as an improvisational poem (1920) also as a response to Eliot and Pound's perceived pash on European literary models. I have a (researched) idea that some of its typographic/rhythmic elements were taken from a particular group of modern dancers who both performed to and notated their dance as, poetry. "Kora in Hell" got some scathing reviews at the time, which may be the reason it's never been in the Collected. Could you tell us a little more about the background of this current debate on "Kora in Hell" and how it related to your idea of rhythm? I should add how much I liked Ernest Slymans' poem "Two Mad Aunts" which reminded me of, in this context, Elsa von Loringhoven, who features as star dada dowager aunt act in "Kora in Hell". This idea of rhythm giving "body" to the poem is interesting too, a bit like Kristeva's "chora" maybe? I want leave aside making a Kestonian fuss about your parameters of general rhythmic history (Keston has still not given us his promised particular reading of H W W R, so one should really point out that his attack on your generalisations is not backed up by his own shown devotion to the particular), rather, what do you think of cris and Ric's recent posts in the light of "Kora in Hell"? Karlien %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%