And it is Inness on the meadows and fruit is yellow ripening in windows every minute growing brighter in the bulblight by the cabbages and spuds-- And all there is is won What are black 4 A.M’s after all but black 4 A.M’s like anything else: a tree, a fork, a leaf, a pane of glass--? And all there is is won A relic of old decency; a very personal friend And all there is is won _Envoi_ Pic, your crows feed at your windowsill Asso, try and get near mine.... And all there is is won This is obvious charlatanry: a synthetic modernist poetry composed of ingredients plainly imitative of those that go to make up the poems of more genuine writers, and yet not too closely resembling them. There is a mystic refrain such as T. S. Eliot has used, typographic nonconformity as in E. E. Cummings, a reference to modern painting--the divided word _Picasso_, which also suggests the verbal disintegration which appears more completely in James Joyce. Possibly the crows occur in an actual picture: possibly they refer to the black 4 A.M.’s. There is also the up-to-date mannerism of marking the poem “Incomplete” and publishing it with lacunae shown by dots enclosed in parentheses. There is a passing satiric reference to Philosophy in “Inness on the meadows”, called attention to by the modernist diction of “bulblight” and “spuds”. The pretended subject is the random thoughts that occur to a poet half awake and half asleep at 4 A.M. The realistic window cord gives the reader a false confidence that “And all there is is won” has some sense; whereas it is an unrelated phrase suggesting those that occur without discoverable sense in dreams. The poem continues: Out of such drab trash as this by a metamorphosis bright as wallpaper or crayon or where the sun casts ray on ray on flowers in a dish, weave, weave for Poesy a gaudy sleeve a scarf, a cap and find him gloves white as the backs of Turtledoves.... This last, dangerously near enough to Edith Sitwell in the third line and in the last three lines, is an assumption of poetic awareness within the poem of the poem itself--another modernist mannerism. The ‘drab trash’ is carefully collected--in imitation of T. S. Eliot--to set off the ‘fine writing’ that follows. Not only Edith Sitwell but, in the rest of the poem, Milton’s nativity hymn, a popular song and a reference to oleochromes contribute. Dr. Williams’ early poetic travels are outlined on the dust-cover of his _Sour Grapes_: The surer and sounder but not the less unusual handling of free verse by a contributor to the original Imagist anthology and a later member of the so-called “Others” school, who has already made a distinct place for himself in contemporary poetry. his more recent ones in the first paragraph of a chapter of his _In the American Grain_: