Lorine Niedecker and the Condensery

The question one must confront in reading Lorine Niedecker is "What is produced through reduction?" For the reader, I think this often depends on the the extent to which a thread can be woven through the material that remains. The thread is obvious in sections like this from "Bombings":

I wrote another,
longer, starting

Homage
of love for, to
the young

but the pain's too much now,
for me to copy.

The reader is given a poetic speaker who speaks about the inability to speak at length. Though syntax is chopped up, the form mirrors the content and it can all be attributed to a unified speaker. In fact, the theme of the cost of poetry appears throughout her work. Here's another example from "Thure Kumlien": "To print poems / is as costly / as to drill for pure / water."

Like short ragged breaths, these concisions are a disrupted attempt to communicate the important bits of what the speaker believes important. What is left is overloaded with emotion, but strangely insufficient for communication. Or it might be more appropriate to say that communication itself has changed from a fully realized grammar to a series of staccato bursts, like a Morse code that must be reconstructed.