Of course I have been talking about—without talking about—c.c. and On Spec. The Hero Project is indeed a more traditional, more mainstream (with apologies to Michael Cross) collection of poems. Yet, from the very first poem, “Mayhem,” everything is up for grabs, the writer (if not the author), the personae, their identities, their sociopolitical positions, etc. Unlike c.c., which was constructed around the number five (the two “sonnets” functioning as a control group) or On Spec, which was, in part, constructed around the “models” of Gregorian chant, post-bebop improvisation and the language of modern American jurisprudence, The Hero Project operates its dissonance at the typical level of semantics. Because we are all rather familiar with this particular strategy, I will conclude by talking about the explicit procedures I used to compose c.c. and On Spec.