The one-hundred-and-twenty-six poems comprising From Falling articulate ways of seeing and reseeing iconic Asian and contemporary Western artists, and art, that shape the grammar, content and techniques of paint and painting, its visual and visceral image and language, and its eccentric aesthetic. The gathering also celebrates atypical artists in other endeavors and vocations, complementing and undercutting the public "outterance" with lyric and meditation sung sotto voce. The Ecriture, textures and spatial architectonic of "geometries of dancing dreams," "angles of notions," reconstruct the play and spirit of artist, of art. They illuminate art's implosive ambiguity, duplicity, insistent urge-to-order the unconscious in an "all-of-a-moment comity." Section V, "Topiary," humanizes that landscape of vision as both a redemptive garden of traditional and sustainable floral delights and postmodern moral and social Angst and discontents. Since art resists interpretation, paradigms of "critics and shrinks" and interpretive discourse, what sustains the garden, after all, beyond blue, "from falling," is "paint, painting, you."