As I've recounted elsewhere, the middle portion of When You Bit..., Dancing with Myself (mp3 locked in here PennSound), was completed in 2007 but then had to be scrapped and re-written in the spring of '08. Listening to how this twenty sonnet cycle worked out, it strikes me that the ambivalence of the protagonist, how he is on a hook he might or might not want to be on, is the dominant theme or motif which emotionally charges the piece with pathos, longing. That pathos and that longing, expressed both directly and with imagery/metaphor, raises Dancing with Myself above the first and third sections of the book (Sister Lovers and Two of Us) so that it is the most fit to stand alone.
In terms of where the Dancing with Myself protagonist is headed: if he cannot admit how many bets he is hedging about what confronts him in this relationship he's had to push (briefly) to the side (this is in "Palliative"), it is because he probably cannot decide himself how many bets need to be hedged himself. The construction crew grinding away at pavement on 21st Street ("Whiskey"), and how this protagonist "lives in his churned guts," both make visceral the cognitive-affective meat-grinder he's been placed into. Yet, looking at Dancing with Myself in relation to the history of the sonnet, other meat-grinders, which have ensnared the likes of Sir Thomas Wyatt the Elder and Sir Philip Sidney, have tended towards more of a sense of grievance and complaint. Wyatt and Sidney whine, where I offer up resignation. Lingering in the back, also, is the issue of duration; how long can I get this love-object to commit to me? While Dancing with Myself is more than loosely based on a situation which really did happen to, and isolate, me, I will leave it to my readers and listeners to decide whether the sonnets justify the suffering or not. That, by the way, is one function the sonnet has as a poetic form (more than, say, an ode or an elegy): to let a protagonist show us why and how he or she is suffering, and then to ask us to accept and bless or sanctify their suffering in an embrace of the literary moment.