By the virtue invested in the craft of writing poetry and by the authority totally vested by himself the Poet reserves the following rights:

• The power to make up, devise, and poeticize any number of stories, themes, and imagery in pursuit of the total poetic experience.

• The liberal use of imagination, metaphor making, deception, and other literary and artistic strategies to present the reader with countless concoctions, riddles, enigmas, and insoluble mysteries.

• The use of rhetorical figures of speech and completely mixed-up language to present clouds of unknowing as well as crystal-clear windows in the palace of wisdom to ferry the reader into uncharted realms of transcendent gnosis.

• The use of many archaizing principles of ancient poetical practices, such as intermittent use of rhyme, near-rhyme, off-rhyme, half-rhyme, internal rhyme, backwards rhyme, far-rhyme, and elements of formal structure long-ago cast off in the folly of modern poetry, such as rhythm, cadence, meter, stanza, accent, trochaic tetrameter, alliteration, assonance, creative imagination, and inspiration, all in the fruitless pursuit of an impossible Ideal, namely the beginning of the Neo-Restoration of the poetic craft.

• The creation of characters, scenes, and events based on the interests and obsessions of the writer, including mental interior monologues that resemble modern gleaming city streets at night, terrifying extractions of ancient mythical origin, and steaming pharmacological potions and vapors that suffuse the reader's imagination, blurring reality and surreality.

• The structuring of an incandescent psychological subtext that cross-links and thematically connects words infusing the poetical consciousness and the world of actual human experience.

• The presentation of a vast dreamlike array of fabulous beasts and other nightmarish lore that confuses the senses and interweaves a plastic web of synaesthesias and syzygies.

• The display of passionate sensuality in the pageant of imagery, including forbidden terrains such as naked bodies, female breasts, beautiful women, and in painful apposition, the masculine realm submerged and repressed nearly out of existence as a direct reflection in the mirror of the modern world.

• The invocation of the ancient Muses of Night and the portrayal of decadent human behavior, terrible human invention, and constant human cruelty.

• The creation of a world of purely aesthetic vision, in the perhaps misguided belief that the ideal of a perfect aesthetic may in some part contribute to the betterment of humanity, but which in no way guarantees said aesthetic will awaken or enhance awareness in the mundane world, and thus purposely adopts the stand of pure aestheticism on merely practical grounds.

• The re-evaluation of the figure of the literary critic in relation to the work of the artist, in particular, the adoration of literary necropsy and the exaltation, glorification, apotheosis, and deification of the scholar, as represented appropriately in the properly-credentialed, suitably pompous but totally fictive personage of an editor emeritus.