The present book comprises a chapter on Morgan’s early vision poems (which have received scant critical attention hitherto); two on his hodoiporika, The Cape of Good Hope and The New Divan; a chapter on his deployment of the grotesque mode, centred chiefly on the Instamatic Poems and The Whittrick; another on his adaptations of the elegy, in which Edgecombe propose a new genre called the “thanasimon;” and, finally, an examination of his various monologic poems, read in terms of his avowed enterprise of “voicing” the universe. The study is topped by a prologue that sets out the consistency of Morgan’s vision over time, and tailed by an epilogue that connects his various critical pronouncements to his remarkably diverse output.