"The case for nonsense is not the same as the case against meaning. It belongs, in literature, to the holy fool and the cryptic sprite; in religion, to the visionary or the seer; in philosophy, to the Sphinx and the Zen master. . . . Such art asks, inevitably, a kind of consent of the reader. Or, in Peter Streckfus's unforgettable first book, more active cooperation. What is transacted here between poet and reader has less to do with the reader's being convinced by elegant or passionate argument, and more to do with seduction. And the instrument of our seduction, for once, is not charm but mesmerizing beauty."