Can such a brief bit of writing - William Carlos Williams's "Between Walls" - be a "campaign poem," as host Al Filreis at one point in PoemTalk #1 suggests? Saigon-born poet Linh Dinh (Jam Alerts) insists that it is a garbage poem and prefers not to claim for it such large literary-political territory. Williams is "flirting" with the poetic, but never quite gets there. Teacher, editor, poet, translator, college administrator Randall Couch sees greater awareness of the poetic line in the poem as printed on the page than in the way Williams's read the poem at public readings. Linh and poet Jessica Lowenthal (As If In Turning) see and hear two different poems. Al keeps wondering if the poem can be negative (be about nothing) and yet at the same time produce something and point toward this bit of shining broken modern shard to discover, or re-discover, life. To Al and Jessica it's positive ("lie / cinders / in which shine") but Linh insists with pleasure that Williams is being neutral - just a snapshot of an urban scene. As such, the poem has had a huge influence on poetry and photography since its first publication in 1934. Yet can any artist today get away with so straightforward and seemingly objective a mere observation?