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My standard visual for reading ghazals is to imagine a disembodied head (not always the same one) coming into focus out of thin air in holographic profile reading aloud each sher/couplet in a dramatic, accentuated way and then floating out of view, making space for another disembodied head to make an appearance...
I think, too, that there is an implied elongated silence that exists between shers of a ghazal that a single space does not convey. In fact, although it may be verboten to suggest, I could even see each couplet being L/R/C justified to further create the appearance of each having their own place/space. Although each couplet in a ghazal is bound by a single word, their messages are meant to vary as if being sectioned off from a whole.
I love the language and the imagery of this. I'm just struggling to bring the whole of it into focus. Part of that is the form and part of it is your Picasso-like word-visuals.
I like Yves' description: "Ghazals to me are just utter cold bare tests of phrasing."
I've just noticed your link to help explain the title and it sheds much light! I had googled "Nocturama" but didn't get past the movie by the same name (seemingly interesting movie, btw).
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