PO ETRY CHRONICLE
1151
all the bolder and larger effects have been excluded and in which no
overtly strenuous effort of any kind is made. They are brief poems, most
of the lines containing from three to six syllables, but never conspicuously
concise or epigrammatic; the rhythms are the easy conversational kind
that usua lly go with a longer line handled with just enough carefulness
and sensitivity to prevent them from registering as lazy or trivial. There
are a few scattered passages and a line or two in every poem that are
meant to be and often succeed in being, striking; there are also quite a
few that are derivative and some tha t simply do not come off.
The chief thing about Mr. Cahoon's slim volume is that it offers a
terrain and an atmosphere in which it is possible to move and breathe
and look at objects with a sense of delight because it is all highly in–
dividualized and therefore new. And it doesn't have the poet in it,
racing about you in circles, telling you what a genius he is, and how
much he is suffering and how you should eat, sleep, think, feel and
make love. "The Scenes of Earth" is not Mr. Cahoon's best bu t it is a
representative specimen of his talents:
T he landscape of a year
I s difficult to reach
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