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Like the unconscious, because it has many different readings, a poem cannot be given a definitive interpretation; momentarily, the poem ends the “tyranny of the intellect.” In the second of three articles, to be published consecutively, the author responds to the question posed by W. R. Bion, “what kind of poets and artists can we [psychoanalysts] be?” The author examines the psychoanalytic session as a poem, with each session a draft in the making. She proposes that T. S. Eliot's concept of tradition and his use of quotations speak of the non-linearity of time, closely paralleling psychoanalytic concepts such as working-through (Freud), après-coup (Lacan), and afterwardsness (Laplanche). Like the analytic session, Eliot takes us to a continual becoming, to a constant postponement or deferral of completeness as the non-arrival at totality; we find the structure of incompletion and a return that opens up new meanings. The author further claims that, in the aesthetic process of transmitting and receiving, the poem summons us as a sign and the phoné (voice) is surreptitiously concealed in the message of Logos.