Joseph Brodsky's late work is well known for its grounding in the American culture. The main aim of this paper is to trace themes and patterns Brodsky used in So Forth, and in earlier works, to become recognizable as an English poet. The author draws on David Betha's triangulation method to show the role of derivatives of Lowell's and Auden's work in Brodsky's poetry. The main components of this process are slang, musicality, self-irony and rhythmic patterns. The paper describes how Auden's strong influence can be understood as Vergilian guidance in the American landscape of writing.