The chapter assumes a feminist new materialist approach to explore the entanglement of temporality, materiality and power within a practice agencement. Feminist new materialism in empirical research is a methodology that emphasizes the vitality of matter and the performative and affective flow of agency. The chapter deals both with the materiality of human bodies (and normative embodiment in organizations) and with the materiality of digital technologies and their normative power over teens’ sexuality. Temporality is explored by means of two concepts – refrain and feminist snap – that create orientations for thinking about how the entangled elements that form a practice assume in time different configurations according to the elements’ capacity to affect and be affected. While refrain illuminates the lines of flight within differentiating practices, feminist snap highlights the breaking moment of discontinuity when digital networking subverts the control on women’s bodies.

This chapter reads the formal evolution of Heaney’s poetry as a partial return to the kind of poet he was in his early career. Devoting most attention to his final two collections, District and Circle and Human Chain, it traces the evolution of his forms out of the narrow stanzas of the bog poems through the 'poetics of airy listening' of his middle career. Discussing the figure of the blacksmith and the prominence of metal objects in Human Chain – as well the emphasis placed by the poet on the pastoral and the etymological – the chapter contends that in returning to the 'weight' of his early style (concentrated, dense), Heaney seeks a style which is universal and permanent. The use of refrains and short lines reminiscent of traditional song are highlighted as being part of this quest to be a 'poet for all times'.