These poems all share Williams’ short-line, unrhymed cadenced, almost shorthand imagery. “Wheelbarrow,” the most often anthologized of these three poems, suggests the typical farmyard setting but enigmatically hints at a more philosophical discussion (“So much” what?); it implies a conversation, or at least a listener, with whom the poet (implied first-person) is sharing a thought. The “Plum” poem, again a one-sided conversation (a note left to a live-in partner on the refrigerator door or on the kitchen table?), performs the speech-act of apology, the most “intimate” of these poems, at its base is, like the Wheelbarrow poem, an encapsulation of a vividly “emblematic” moment, here incorporating taste and even texture and temperature, as well as sight. The final poem, a “Sort of Song”, is different in several respects. First, its subject is the act of verbal creation, with the snake not so much a natural object as a symbol for handwriting or for the invention of “metaphor.” Second, it is more personal and internal, more a conversation with himself, in his head (a "song" he sings to himself?), than a listener. The three poems taken together, clarify his poetic temperament – a quiet, close observer of the everyday, giving his existence a larger-than-reality importance by seeing and hearing the universal rhythms in the everyday events of his life.