It's not, as the pigeonholers would have it, about craft or technique, or about the groups or trends your poet seems to align with, or what all. Americans have an obsession with technology and branding. Poetry is beyond and against all that.

The "technology" of poetic language is intricate and subtle to a degree that escapes paraphrase and conceptualization. As Mandelstam expressed it in his essay about Dante, the Divina Commedia is poetic speech of such alien refinement as to represent a language from the future. (This is the wild region of the atmosphere where poetry, prophecy and science fiction meet...)

And yet "technology" as a term is also completely inadequate for what we are concerned with here.

Minor pigeonholer (& poetry-lover) Jonathan Mayhew happened to bring up the subject of "duende" recently, which led to comment-box activity around this and related para-musical phenomena (fado, saudade, etc.). This kind of vocabulary begins to approach the obscure poetic regions more closely that anything "technical" - regions where the subjective and the communal, knowledge and feeling, are shown - by the artist's expression - to integrate, to interpenetrate.

A poem is feeling and intuition. These forces guide the poet to speak beyond the normal range of utterance.

But what also makes this region even more rarified is that, in the depths, world poetry is one. That is, the poet, possessed by the duende-fury, enters into a dialogue or dialogues with poetic ancestors and contemporaries. There, the vast and profound range of "technical resources" - the rhetorical sublimity of the great poets of the past - begins to become actual, active, and influential. We are talking about the depths of language - like the subtlety, strangeness & uncanny instinct of the most exotic jungle flowers, insects & birds.

A poet like Frost may camouflage these phenomena with faux-folksiness - but he's aware of them : they're there in his themes and compositional models (Horace & Shakespeare, for example).

The main point I want to make here, though, is that all this development - the state of creative composition in poetry - is a subjective, intuitive, and emotional process in the highest degree. Unpredictable. Demanding an integration of opposites : an intense social engagement in the immediate contemporary world, with a profound awareness of subjective and subconscious impulses. Intuitive. A 6th sense.

(I'm only reiterating some things I tried to say in interview with Kent Johnson in Jacket, 8 yrs ago.)