The most telling two lines of Randall Horton’s treatment of subject matter are, uniquely, in his poem entitled, “More Clearly To See”: "rotating helicopter blades churn splitting quite freely decomposition. but the brain will think not about narration but it is." Horton’s poetry is thus energized by a synechdochal tension of part against whole. In order, “To See More Clearly,” the composition must split quite freely into particulars. As such, this poem moves into an imagistic and syntactical accumulation, always vulnerable to deconstruction by an unexpected word or image that obliterates any preexisting “givens.” See how the word “murder” slips in between “a description of/ swallows” and “the skyline more tranquil” in lines 5-6? These disruptions are not mere red herrings, meant to throw a reader off his or her game. Instead, Horton makes a clear argument about malleability and frailty in poetic (as well as personal and collective) narrative.