One thing we can now surely say of the achievement of Wallace Stevens: He has written, over some thirty years, a whole and continuing poetry whose subject is the life, the form and function, of the imagination. In the recently published Transport to Summer that subject receives its broadest, most complex treatment, yet remains essentially as it was in his first volume, Harmonium: in his language, a problem in the relation of the imagined to the real; in more general language, of the world as known to the world as outside knowing. From beginning to end what has been basic is the predicament of the man who would know. If, read in and of themselves, the poems in Transport to Summer contrast vividly with those in Harmonium, the contrast is as much an aspect of continuity as of difference and opposition. It is a continuity that represents the growth and achievement which, for good and for bad, make the total of Stevens' work greater than the sum of its parts. Viewed thus, the poems in Transport to Summer are inevitable precisely as they show Stevens trying to finish what he began in Harmonium.