PE?FACT is a series in three parts, beginning with an interrogation into the structure of experience, language and identity. The title poem, PERFACT, is an approach to materiality and consciousness in which each are made to intersect, partaking in a coded interchange. Here, I aim to upturn language and cause it to interrogate the conditions of its organizing structure. This interchange precedes the dramatic stage-play, ???? (mono-no-aware, an untranslatable Japanese term which might be expressed as an empathy or awareness of things; an innate receptivity of materiality or its experiencing of intensities which are always obscured or altered by other forces); a ?dark night of the soul' whose dramatic interchange leads a feminine ?I' inwards and back again, countering the coherence of singular identity with the threat of sublimation. This mystical junction makes way for MINE, a lineated poem presenting a disassociated clarity marked by absence; survival's persistent interlude. There are several shifts occurring within the book-a formal shift apparent in the oscillation between confessional modes of writing and a more abstract approach; a perceptual shift in the interaction or juxtaposition between the reoccurring ?I' and undefined speakers or events; and the continual affective shifting apparent throughout the book, intended to make physical the changes occurring within a mutable psychic landscape. Antonin Artaud's Theater of Cruelty, the writings of St. John of the Cross, Simone Weil and Edmond Jabes, as well as the illustrations of Hildegard von Bingen had significant impact on my thinking during the writing of ????. In terms of poetic texts, the work of Gertrude Stein is a precedent for the title poem; George Oppen and the early aesthetics of Jospeh Ceravolo were significant influences on the last.