Gamoneda establishes a unique relation between verse and prose in his work by lengthening the line to such and extent that it becomes a paragraph. I'm exploring his relation to Juan Ramón Jiménez, who increasingly turned to prose in his old age, converting free verse poems to rhythmic prose. So maybe Gamoneda is not so unique after all: he represents a culmination of a long process.

Gamoneda takes some more or less narrative prose and turns it into prose poetry, then takes those same sentences and weaves them into his autobiography many years later. The same phrase or sentence can shift prosodical contexts.

We don't experience Shakesperian blank verse in the theater as "lines" of verse, but as a rhythmic flow. Oral poets, even those composing in isometirc units, probably don't conceive of their poetry in terms of visual lines on the page. Even if they do, that visual representation is not primary.