"Bukowski tells us: 'Drinking is a form of suicide where you’re allowed to return to life and begin all over the next day.'”
“W. S. Merwin’s The Mays of Ventadorn beautifully combines literary autobiography with literary history . . .”
“Graham’s poems are dense with meter and immersed in sound. They are living things that only surrender their technical cleverness to the human voice.
Readers of poetry and listeners of classical music share something in common: each must engage in a push-pull to extract maximum benefit.
“Laux is not afraid of grotesque details. She writes truthfully to engage readers with images we know. She commiserates.”
“perhaps Dawson is a gardener, gently lifting away weeds and leaving the reader ready for the seeds she will sow.”
James Magee is renowned for his remote architectural sculpture, most famously “The Hill,” which he has been creating for 40 years or so on 2000 acres of land he owns outside of El Paso, Texas.
“Bly writes with a naturalist’s eye and sage view to derive permanent human emotions from natural beauty. . . . an honor to read.”
“Beth Moon is a gifted photographer with abundant creative insight and an eye for unconventional subject matter.
“Maples’ skill as a poet pours through every page of this book. This is difficult material, but she illuminates it with carefully shaped lines and flowing prose-poems.
“Either the world will burst through the pipes and walls, or weltschmerz will pull our beautifully-arranged bookcases down around our ears.
“How the End First Showed is not merely a collection of Nigerian poems, it is an effort to forge transnational literature.”
“this thoughtfully selected span of Gunn’s poetry is not only an immensely pleasurable read but also a master-class in poetic form.”
“gorgeous collection of complex poetry.”
A. E. Stallings’ reputation as a poet is already established. She has the distinction of being a McArthur Fellow (2011), that peculiar laurel that bestows “genius” on the recipient.
“Buck’s poems are startling, insightful, and inscrutable. The reader may conjecture what the poems mean but without the comfort of ever knowing. That’s good poetry.”
“The natural and gritty images paint dynamic landscapes that balance myth and reality.”
Katie Ford’s fourth book, If You Have to Go is full of wounded, distrustful, deeply inward yet insistent verse that, from the very first line of the first poem, seems to push readers away—
In the September 26, 2002, issue of The New York Review of Books, in an article rather marvelously entitled “The Queen of Quinkdom,” Margaret Atwood tackled Ursula K. Le Guin.
“poems of balanced wildness and instinctual grace.”
“littered with genuinely brilliant poems. They could lure disenchanted rationalists back to poetry. They might ignite a new movement in a culture. They are wonderful.”
“This is a small but beautiful book and one that deserves to be cherished.
Whether it’s God or fate or karma or randomness, how should we respond when life skewers us with loss and cruel reshaping of dreams into walking nightmares?
When reading the other reviews of Barnett’s Human Hours, one begins to wonder if the reviewers actually read it.