In Memory Play, one is neither fixed in a memory nor is one in the (non-reactive) politicized moment of the present without memory. The child-non-innocent Pelican, Child, Reptile, and Fish, of Carla Harryman's play are lucid Alices (in Wonderland) observing history which as if backwards is creating phenomena. Harryman's play creates a state that is non/innocent in that it is our real present in our really being innocent, rather than an idea of such in a myth state of 'Garden of Eden.'

Steve Benson says: "Suppose you had a dream life and woke up not a person interested in telling as a story what you could recall of it as it could be translated and tricked into the words and images of a narrative that made sense by referring to the things of this world as your interlocutor knows them as well as you do but woke rather or also as a polyvocal projection of theater articulating time and personality and politics in idiosyncratic motion and congruence much as clouds and birds in flight make sense to that visionary in you.....

This is a first book by a young poet creating multiple narratives in a collision of lyrical and hard tones, isolating words and tones in order to allow their actuality, effectively to allow them to occur.

Ann Lauterbach comments: "In Randall Potts' poems, nature and language collide, and then proceed, each having been transformed by the other. ... We witness the newly manifest being carried away on the stark clarities of his lines, "watchlessly dis-figuring / what remains to be seen." There is gratitude and there is terror: here they embrace.

Bruce Andrews comments about MOB: "Only the impossible is intimate enough." She creates a form that isn't landscape yet is a visible reverberation, "the sky is drunk with ... The center in front of the future," realistic and filmic in that the non-landscape is "frames (which) hit the screen/dependent on the intent", thus subject and object of their own scrutiny and direction which is motivation.

Kevin Killian comments: "her new book is a fiery J'Accuse against a war-fueled heterosexist Uberhaus that flaunts "the privilege of a window ignoring its cost." She has always been a provocative poet and thinker, but now she writes her twin obsessions into transparence. Between the words vast flamethrowers aimed by angels singe and give off steam."

A first book by a young poet about whose work Jennifer Moxley comments: "As for AIR, so what if we continue to build our loves on the banks of sorrowful Ilion, stolen kisses and all that. At least Scott, like Dido, knows there's more to life than duty. After all, those paleolithic bison were so real you could've hunted them and this language is so true that it runs a body amuck. In both we find the inherent vulgarity of the natural, where every key or brush stroke makes desire's ineffable history more seductive."

Kit Robinson says: "Then, having established this deceptively enveloping GROUND, Bentley takes off into AIR, constructing intimate spaces where 'Everything's / tender and sudden.'"