  We are now in a position to deal with two items of unfinished business. First, recall the stylistic shift that characterizes Heidegger's later work. Heidegger not only increasingly engages with poetry in his later thinking (especially the works of the German lyric poet Hölderlin), he also adopts a substantially more poetic style of writing. But why? The language of metaphysics, which ultimately unpacks itself as technological, calculative thinking, is a language from which Heidegger believed he did not fully escape in Being and Time (see quotation from the Letter on Humanism at the beginning of section 3.1 above, and Vallega-Neu 2003 24–9 for discussion). What is needed to think Being historically, to think Being in its essential unfolding, is a different kind of philosophical language, a language suggested by the poetic character of dwelling. It is important to realize that Heidegger's intention here is not to place Being beyond philosophy and within the reach of poetry, although he does believe that certain poets, such as Hölderlin, enable us to glimpse the mysterious aspect of Being. His intention, rather, is to establish that the kind of philosophy that is needed here is itself poetic. This explains the stylistic component of the turn.