They are maneuvers. Her method, like that of other Language Poets, is strategically to break down linguistic structures.
Traditional grammar is irrelevant to the poet.
It's its time. Her pages, therefore, do not involve linguistic games. They are serious ungrammatical transformations. Scalapino, however, seems enamored of her deconstructions, of disjunction. Frighteningly, at least to a non-Buddhist, Scalapino insists that everything is disjunction, that nothing is real, that all is fiction.