Argues for the humean theory of motivation on the grounds that rejecting it requires rejecting decision theory.

How does a poet repeatedly over a lifetime make art out of an arbitrary assignment of fate? By asking this question of the work of four American poets - two men of the postwar generation, two young women writing today - Helen Vendler suggests a fruitful way of looking at a poet's career and a new way of understanding poetic strategies as both mastery of forms and forms of mastery.