Endre Ruset’s long poem “Prosjektil” (2012) is perhaps the most radical aesthetic experiment in literature on the terrorist attacks of 22 July. The poem presents the massive violence itself as what we need to relate to first and foremost. Utilizing only forensic reports from the Utøya massacre in a literary montage, the poem invites readers to engage in the memory work following the attacks. Drawing on John Dewey’s concepts of rhythm, energy and aesthetic experience, the article explores how “Prosjektil” fosters participatory remembrance. Furthermore, it also examines the poem’s reception, revealing its shared fate with other 22 July works that faced external silencing or self-censorship. Through close readings and contextual analysis, the article highlights how caution and censorship influence artistic responses to terrorist attacks. Finally, it underscores the impact of digital media on the conditions of remembering violence today.