In particular, as Snediker says in "A Note on the Text," despite the volume title, James's New York Edition does not have the status of "some missing body of knowledge by which poetic meaning is completed" (81). The first, unexpectedly, invokes John Clare, the "Peasant Poet," a writer about as different from James as one might imagine; the second, even more surprisingly, names Lazzaro Spallanzani, an eighteenth-century Italian Catholic priest, celebrated professor, and pioneering biologist, whose experiments on bats, systematically destroying their senses, discovered their use of what was later called echolocation; the third, in another jump, is dedicated to Lascaux and the early mark-making of cave drawings.1 In each case, the poem is glancingly related to these named links. Together they establish certain motifs: need, the body, a self-conscious concern for form, and the making of visual art. There are also a few surprises among Snediker's Jamesian titles—specifically, the use of the titles of three short stories, not among James's best-known, which also appear out of chronological order: "Fordham Castle" (1904), "Flickerbridge" (1902), and "The Abasement of the Northmores" (1900).