Etiological Substances in the Serial

I've often thought that the problems of narrative are that each image is so predictably leading to the next that it leaves me bored. With A BORDER LOOKS LIKE MAKING LOVE...I wanted to inflect this role differently. My idea was to "bend" narrative and description both -- wormhole? -- making each conform to certain images and act in discord with other images. It's now your role to scream, "That's not what that means..." That's why a donkey ass town is still funnier, or more relevant to say, than to use any type of simile and the crowd "gets" that, but doesn't remark because of the structure of a poetry reading. To boo or show dislike is dismissive, but contributes in its own way. So now we hear more "this is what I'm supposed to hear when I get ready to hear a poem." Therefore, poem.
Simply put, I tend to shy away from the idea that a poem should sound and read like a poem, but nor should it be so unlike a poem that existence becomes a question of stubble. And remove it easily. What is unlike what you expect can be dissolved into background. Personally, it's much more challenging -- and therefore alienating artistically from an audience -- to attempt to co-opt images and tones of address that aren't poetic, yet to occupy the middle space of nullity and pneu-nomenclature, taking this nullity and using it again, to name. To invent without screaming or camouflage. My idea of language in my poems runs on this idea, mainly. I find that overstatement, irony, crassness, tactlessness, scientific tone (much like reader #2 did when he "imitated" wikipedia but WITHOUT the overacting doing a silly voice on stage, as in the voice shouldn't be TOO silly but not droll enough to be assumed that we are again outside of the poem of the poem) as well as a dalliance in the inept, unplanned, low-fi underproduced manner of other art forms all help to understate the very "poemness" of a poem.
Re: longevity, I've come to enjoy series of poems on a fixed theme or using similar titles because of the binding without imitation of format or any type of linear narrative, and the avoidance of the too-forceful, "this poem begins the series, this poem ends it."