From Glasgow to Saturn collects, interestingly, most of the many facets of Morgan's poetic personality: one gets for the first time some sense of the whole oeuvre, not just glimpses of his work as a writer of lyrical love poems, or sci-fi fantasies, or slightly loaded whimsicalities in 'concrete', or excursions into horror which suggest a George MacBeth without the fastidiousness or the zany charisma. All that said, it's an uneven book. The love lyrics derive only too plainly from the pop songs to which he pays tribute. Wilful—and, one suspects, clumsy—mystification rubs shoulders with beautifully constructed and entertaining collages, like 'Soho'…. Where Morgan doesn't contrive, he is ineffective; where he does, he gives the impression of a magnificently fertile, highly intelligent and intensely self-aware poet who is still failing to decide what he really wants to do, and doing it well. One wants to be...