Here's a sample of Bar-Nadav's thoughts on sound in prose poems and poetry composing in general. I wholeheartedly agree with this idea of sound as key to a deeper, more "visceral" method of finding one's way while writing (and even revising) a poem:
"I especially enjoy pushing sound in prose poetry. When I read the work of someone like Karen Volkman or Simone Muench, I see how the prose poem can create opportunities for very visceral treatment of alliteration, assonance, and consonance, and rhyme and off-rhyme. I’m also a great believer in allowing the poem to go where it may, and, as you noted, sound was a major compositional device in the writing of these poems. At the same time, sound also enabled me to revise these poems, which I said aloud dozens of time as I revised. All this to say, sound can be both a compositional device and a tool for revision. "
