From Library Journal:
Gregg speaks with authority on confronting the ghosts of the pastbut she is a woman with an eye on time, one who has looked at "the drying leaves with my heart." These poems center on harsh landscapes which Gregg explores until she can discover her connection to them. The poetry is confessional, sturdy, and occasionally veers toward prose pronouncement: "He is fearsome because he does not care/ about me personally." But there are enough surprises in her confrontations to make it all work"The look on her face/ is the sound he made," and on the moon, "it does not shine./ The color of old aluminum. A spareness of language also serves the poet wellas in "Lessening" about someone's theft of an old photo"Steal the small proof that once/ I lived well, was loved/ and was beautiful." Rosaly DeMaios Roffman, English Dept., Indiana Univ. of Pennsylvania
Copyright 1986 Reed Business Information, Inc.
From Publishers Weekly:
This volume introduces a fascinating lyric voice. Personal yet abstract, Gregg's poetry is stringently stylized while giving the impression of perfect, naive naturalness. She is feminine and emotional, wistfully childlike and primitive in a sacred and mythopoetic way, yet particularly persuasive because of her urgency. The poems give the impression of confrontations by evasion and reduction, as if Gregg's experiences of love and death are too intense and private to be shared in full, and had to be evoked by the plucking of odd and plangent strings: "Far is where I am near./ Far is where I live./ My house is in the far./ The night is still." These wraithlike murmurings are an effective alliance of form and pure, unadulterated feeling that purpose "to get beyond ourselves, beyond this world." Foreign rights: Random House. January
Copyright 1985 Reed Business Information, Inc.
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