In this poem the pattern of signs on the page is part of the composition, so that the layout and spacing of the lines are being used as a form of punctuation.

The poet has chosen a fragmented method of presentation, suggesting to the reader that s/he is eavesdropping on an internal monologue. Success depends, even more than success in other forms, on the reader’s interpretive input

The poem falls into three sections, the first six lines, the next twelve and the last ten. The poet begins by describing an alienating solitude. The lines are fragmentary comments, as though any greater coherence were out of the poet’s reach.

The reader looks to the pattern of the lines for more information, and so the fragments are connected by association. Together they build a picture of the poet’s negative view of the world of judgements that form the “status quo”.

The poet is clear that this isn’t a world she can accept (“failing to achieve / the substance/ the point/the acceptance/). The alternative is a solitary exile (I have been/ sequestered into exile/ the definition-/ a kind .. in absence/ the limit of compassion- /left wanting)

Two key emotional words are written each letter on a single line. The reader’s eye will be drawn to them at a first glance, so that they colour the interpretation even before the poem has been read.

There are two possible errors, though both may be deliberately chosen to emphasise the feeling of fragmentation: “sequestered into” in the second line looks like a grammatical mistake. “Sequestered” usually links with the adverb “in”. “Unperceivably” appears misspelt, though this could be a US/UK issue “

The overall impact is difficult to gauge. It isn’t easy to make suggestions for editing, because the poem’s expression creates an “indivisible” impression.