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It is closer to a collection of linked short stories; the first and last of them subtly connect, as if the book were an extended example of that verse form known as the pantoum.

I’m sure that no one onstage had ever seen this arrangement before, and Hersh struggled to maintain order in the multilayered “Pantoum” movement.

The one-time primitive directness of English was overrun by such forms as the ballade, the chant royal, the rondel, the kyrielle, the rondeau and the rondeau redoubl�, the virelai and the pantoum, the sestina, the villanelle, and last, yet by no means least, the sonnet.

I created a pantoum — a series of quatrains with certain lines repeated in a pattern — using language culled from these bridge “pages.”

During the Pantoum, the Ravel was more sensation than sound: the deep cello rasp of hair against gut; shimmers of glissando from the piano; piercing intrusions by a worried violin.