Morgan's range is wide. Wide enough, in fact, to touch both of the antagonistic poles of Scottish poetry—Ian Hamilton Finlay and Hugh MacDiarmid—and an amazingly large number of points along the way between them. The trouble with being versatile and working in many forms is that readers (and especially critics) will want one thing or another, this sort of poem or that. Even though the possibility exists that a book manifesting widely divergent techniques can achieve a shape and identity as its parts combine to form a whole, this is not very often admitted, and poets who don't stick pretty much to one mode are likely to be abused for not doing so. All the more reason I should apologize for feeling that [From Glasgow to Saturn] doesn't manage to cohere. Morgan's propensity for trying to pull off strange virtuoso pieces is partly responsible for this...