The author invites us to take part in the gestation process of a poem, his own. On the basis of hypotheses drawn from cognitive psychology and psychoanalysis, he outlines the preconditions for the kind of creative process that is just as likely to culminate in dreaming as in poetry writing. In poems and dreams alike, fantasies, associations, and thoughts are condensed; they qualify for such descriptions as cognitive-affective microworlds. The author explains the part they play in his poem and how they got there in the first place. Subsequently, he also touches on the question of aestheticization. This appears to be bound up with the hope of achieving something intransitory, or at the very least, of finding readers prepared to be active depositories—i. e., giving the work in question a positive reception and engaging with it in terms of bearing on their own selves.