was “replete with honest and authentic American life in the finest traditions of such greatly neglected poets such as Edgar Lee Masters, E.A. Robinson (Edwin Arlington Robinson), Maxwell Bodenheim and others early in our century.” The new book, with few exceptions, employed no formal forms. Steinhardt's work was firmly Imagist, free-verse, and rarely employing rhyme. Guenther noted that the material was “revealing” but not confessional, saying “life experiences enter his lines, often subtly, for a larger purpose.” The poems run the gamut of work and play (“Mowing,” “Two Boys in a Field,”) haunting narratives (“Gone-away Lake,” “Night-Demons)” and love and nature poems. The book was divided into four sections thematically, namely, “Relation,” “Nature, “Spirit” and “Solo.” Richard Wilbur said the work “moves in a characteristic, exploratory way, through scenes large or small, through memories, through relationships.” He said “They are highly readable—talkative, sympathetic, humane—and it is a pleasure to follow their courses.” Similarly, Robert Creeley was effusive in praise for the collection, saying, “These poems are fact of an enduring human attention to what values and feelings are still possible in our world. They are pledge and record, testament and persuasive story, of a real life in a real time and place.” He said Steinhardt “has learned his art with great determination and humility. His generous authority is clear in every page.” The work in the latter portion of the book is contemplative and largely psycho-analytical. In a complete break with any tradition is his poem, a playful commentary on the writing process: Writer's Block Qwertyuiop[ asdfghjkl; zxcvbnm,./ `1234567890-= ~!@#$%^&*()_+ ZXCVBNM<>? Other poems, such as “Shadowlands,” are a marked attempt to explore the human psyche. The end of the poem explains the pains in self-investigation or psycho-analysis, We press our nose/To the glass of our soul/And think that whatever should come,/Tempest or not,/We will see our own/Shadow cast upon the wall./We will remember that/We are our company in our aloneness,/That our image is that/Of belief battling unbelief,/Both in ourselves/And when we are in the shadowlands. This poem was the keystone of an art exhibit in Nashville in 2007. A thread of spirituality runs through many of Steinhardt's poems, as in the poem of apology “P,” very reminiscent of Nemerov's style and frequent droll look at the world: We're never really fully born Until we die—and the difference Between breath and exit Is the Manufacturer's guarantee That we are now, after