Whether in the individual poem, the sequence or the collection, Edwin Morgan makes a plurality of styles into a thoroughgoing eclecticism. At once unpretentious and daring his range of production over the past twenty-five years is almost worryingly wide. His wit has done as much as anything to make the "Concrete" and "Sound" poem respectable and accessible. His refusal to decry the contemporary or to set barriers between modes has led to poems using, for example, the terms of space-fiction. He is a tireless translator or adapter…. Theoretically, his work could be seen as the inevitable inheritance of the movements of this century's art—pragmatic, multiformed and experimental in technique. Yet the very judgement and tact which protects each element of his enterprise from the least smear of opportunism can seem to limit, even to tame, its impact. Free of what Robert Lowell has described as his American...