It might appear that the guiding principle in art in more modern times is to be obscure, as an end in itself, and the same may be said of poetry. This is the polar opposite of science which intends to be quite clear, quite precise, despite the abstruseness of the material.
In poetry, the master of obliqueness is Emily Dickinson who used riddles and mystery, and sequential perming, to layout an overall journey for the reader with anchor points wherein she tips you off.
Dickinson, foremost, is a conversation preacher, and is the fox that wants to be found. From her teenage years on she struggled mightly with personal conversion, under great stress, and admired preachers while rejecting much of conventional theology, save chrisman scripture.
The conversion narrative s contained in sequential booklets and amount to one-half of her oeuvre. These were divided upon her death, ignorantly but innocently, and scholars cope with this even now.
Conversion is getting another to that teachable, reachable, moment. Dickinson used her own journey as a road map. Her poetry is autobiographical in that sense, and in the sense that she is more or less upfront about her vocation as poet/preacher.
Crazy like a fox, and as beautiful as hollyhocks, standing tall and beckoning us all.
Jesus used parables to make the unreachable, preachable.