F O R E W A R D　　On the assumption that my technique is either complicated or original　　or both, the publishers have politely requested me to write an intro-　　duction to this book.

　　At least my theory of technique, if I have one, is very far from　　original; nor is it complicated.

I can express it in fifteen words, by　　quoting The Eternal Question And Immortal Answer of burlesk, viz.

　　"Would you hit a woman with a child?

--No, I'd hit her with a brick.

"　　Like the burlesk comedian, I am abnormally fond of that precision　　which creates movement.

　　If a poet is anybody, he is somebody to whom things made matter　　very little--somebody who is obsessed by Making.

Like all obsessions,　　the Making obsession has disadvantages; for instance, my only interest　　in making money would be to make it.

Fortunately, however, I should　　prefer to make almost anything else, including locomotives and roses.

　　It is with roses and locomotives (not to mention acrobats Spring　　electricity Coney Island the 4th of July the eyes of mice and Niagara　　Falls) that my "poems" are competing.

　　They are also competing with each other, with elephants, and with　　El Greco.

　　Ineluctable preoccupation with The Verb gives a poet one priceless　　advantage: whereas nonmakers must content themselves with the　　merely undeniable fact that two times two is four, he rejoices in a　　purely irresistible truth (to be found, in abbreviated costume, upon　　the title page of the present volume).

　　E.

E.

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