The literary critic Harold Bloom famously described the creative process as an anxious struggle to overcome the influence of literary precursors and thereby achieve one’s own unique imaginative perspective and expression. From its title onward, “A Following” ironically deflates the notion that great art can influence others to become better people; and in doing the poem aims not so much at a pessimistic view of art or human sociability but rather seeks to access forms of connection capable of bypassing the pretensions of fame and influence, thus overcoming isolation. One is never sure whether the editor is being tongue-in-cheek when he describes himself and his friend as Chinaski’s “following” (Line 3). Nor, given what it would imply both for Chinaski himself and for his relationship to his audience, would one necessarily want to know. Despite the callers’ patent ridiculousness—drunkenly soliciting Chinaski for poems in the middle of the night—both Chinaski and the poem itself largely refrain from making explicit judgements about their situation. On the contrary, Chinaski’s assent to the editor’s request, even after the third caller declares him “AN ASSHOLE” (Line 21), implies affection and solidarity.

The brief exchange over the matter of drinking provides a clearer sense of the basis for Chinaski’s identification with his callers.