The prompt above this comment box asks us about progression. The sort of “progression across America” that became apparent in the course of the larger film was crucially informed (enriched) by its framing with Pinsky in Boston and Hass in San Francisco– two poets whose works have managed (in the course of their era of American poetry) to serve both retrospective and foretelling ends. Somewhere near the middle of the film a poem’s reflection on “foreclosure” as poetically (not only politically) emblematic seems (too) a product of judicious editorial arrangement. A round of applause for the shapelinesses brought to life by beginnings, ends and middles too…(i.e. artists as editors, editors as artists) and then to the senses in which (or am I dreaming?) some good things go on past our grasp: “Our lives are endless in precisely the way our visual fields are endless.” (I’m wrangling him into English here– see Wittgenstein).